Reflections: Learning Together, Working Together
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The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915
THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. -
Chapman CV 2020
H. PERRY CHAPMAN Department of Art History tel (302) 831-2243 University of Delaware dept (302) 831-8415 318 Old College [email protected] Newark, DE 19716 EDUCATION Princeton University, M.F.A., 1978; Ph.D., 1983. Dissertation: “The Image of the Artist: Roles and Guises in Rembrandt's Self-Portraits.” (advisers: John Rupert Martin and Egbert Haverkamp- Begemann) Swarthmore College, B.A., High Honors, Phi Beta Kappa, 1975. APPOINTMENTS University of Delaware, Department of Art History, Instructor, 1982-83; Assistant Professor, 1983-89; Associate Professor, 1989-97; Professor, 1997-; Interim Chair, 2014-15. Institute of Fine Arts, New York University, Lecturer, Spring 2010. The Art Bulletin, Editor Designate, 1999-2000; Editor-in-Chief, 2000-2004. The American University, Department of Art History, Professorial Lecturer, Spring 1982. Swarthmore College, Art Department, Instructor, Spring 1981. CURATORIAL EXPERIENCE Denver Art Museum and The Newark Museum, Consultant for exhibition Art & Home: Dutch Interiors in the Age of Rembrandt, held in 2001-2002. The National Gallery of Art, Washington, DC, Guest Co-Curator for exhibition Jan Steen: Painter and Storyteller, held at the National Gallery and the Rijksmuseum, Amsterdam, in 1996-1997. FELLOWSHIPS, GRANTS AND AWARDS University of Delaware, Institute for Global Studies, International Travel Award, 2014. Summer Teachers Institute in Technical Art History (STITAH) 2012, Yale University, July 2012 (funded by the Samuel H. Kress Foundation), participant. University of Delaware, General University Research Grant, 2012. John Simon Guggenheim Foundation Fellow, 2004 (held in 2006). Center for Advanced Study in the Visual Arts, Samuel H. Kress Senior Fellow, 2004-2005. National Endowment for the Humanities, Fellowship for University Teachers, 1993-1994. -
Jews on Trial: the Papal Inquisition in Modena, 1598–1638
Jews on trial artwork 8/7/11 15:07 Page 1 J ews on tr STUDIES IN EARLY MODERN EUROPEAN HISTORY Jews on trial ‘A welcome addition to our knowledge ... the archival material has been handled with care and sensitivity’ The Papal Inquisition in Modena, Simon Ditchfield, University of York, UK 1598-1638 esearch on the Papal Inquisition in Italy has tended to centre on trials for ial Rheresy, witchcraft and possession of prohibited books, but little is known of the activities of the Inquisition with respect to practising Jews. This book explores the role of the Papal Inquisition in Modena, the status of Jews in the KATHERINE ARON-BELLER early modern Italian duchy and the fundamental disparity in Inquisitorial procedure regarding professing Jews. It also uses the detailed testimony to be found in trial transcripts to analyse Jewish interaction with Christian society in an early modern European community. Jews on trial concentrates on Inquisitorial activity during the period which historians have argued was the most active in the Inquisition’s history – the first forty years of the tribunal in Modena, from 1598 to 1638, the year of the Jews’ enclosure in the ghetto. This book will appeal to scholars of inquisitorial studies, social and cultural interaction in early modern Europe, Jewish Italian social history and anti-Semitism. Katherine Aron-Beller is a lecturer in Jewish History both at the Hebrew University of Jerusalem and at Tel Aviv University. In 2006-07 she served as a Visiting Assistant Professor at the George Washington University in Washington, DC AR ON-BELLER ‘The Strappada’ From Thomas Murner Die Entehrung Mariae durch die Juden, reproduced in Jahrbuch für Geschichte, Sprache und Literatur Elsass-Lothringen 21 (1905) ISBN 978-0-7190-8519-2 9 7 8 0 7 1 9 0 8 5 1 9 2 www.manchesteruniversitypress.co.uk Jews on trial Aron-Beller_01_TextAll.indd 1 18/02/2011 14:22 STUDIES IN EARLY MODERN EUROPEAN HISTORY This series aims to publish challenging and innovative research in all areas of early modern continental history. -
TASTE and PRUDENCE in the ART of JUSEPE DE RIBERA by Hannah Joy Friedman a Dissertation Submitted to the Johns Hopkins Universit
TASTE AND PRUDENCE IN THE ART OF JUSEPE DE RIBERA by Hannah Joy Friedman A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland May, 2016 Copyright Hannah Joy Friedman, 2016 (c) Abstract: Throughout his long career in southern Italy, the Spanish artist Jusepe de Ribera (1591- 1652) showed a vested interest in the shifting practices and expectations that went into looking at pictures. As I argue, the artist’s evident preoccupation with sensory experience is inseparable from his attention to the ways in which people evaluated and spoke about art. Ribera’s depictions of sensory experience, in works such as the circa 1615 Five Senses, the circa 1622 Studies of Features, and the 1637 Isaac Blessing Jacob, approach the subject of the bodily senses in terms of evaluation and questioning, emphasizing the link between sensory experience and prudence. Ribera worked at a time and place when practices of connoisseurship were not, as they are today, a narrow set of preoccupations with attribution and chronology but a wide range of qualitative evaluations, and early sources describe him as a tasteful participant in a spoken connoisseurial culture. In these texts, the usage of the term “taste,” gusto, links the assessment of Ribera’s work to his own capacity to judge the works of other artists. Both taste and prudence were crucial social skills within the courtly culture that composed the upper tier of Ribera’s audience, and his pictures respond to the tensions surrounding sincerity of expression or acceptance of sensory experience in a novel and often satirical vein. -
Caravaggio' S Crucifixion of St Andrew: from the Abstraction of the Law to the Afflicted Body
CARAVAGGIO' S CRUCIFIXION OF ST ANDREW: FROM THE ABSTRACTION OF THE LAW TO THE AFFLICTED BODY by JASMINA KARABEG B.A., The University of Belgrade, 1995 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FRO THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Art History, Visual Art and Theory) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 2003 © Jasmina Karabeg, 2003 UBC Rare Books and Special Collections - Thesis Authorisation Form http://www.library.ubc.ca/spcoll/thesauth.html In presenting this thesis in partial fulfilment, of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. ^—> Department of The University of Briti'sh Columbia Vancouver, Canada Date lof 1 10/10/03 4:23 PM ii ABSTRACT This thesis examines the Crucifixion of St. Andrew (1607) painted by Michelangelo Merisi da Caravaggio (1573-1610) during his first sojourn in Naples. This painting was probably commissioned by Conde de Benavente, who was viceroy of Neapolitan kingdom, at this time part of the Spanish imperial state. The unusual choice of Latin cross depicted in this painting links the image to the debates about Andrew's martyrdom that circulated at the end of sixteenth and the beginning of seventeenth centuries, especially through the writing of Justus Lipsius. -
Art Journal 2019 Editors Isabella Christilles Liv D'elia Noreen Mcgonigle Rita Murphy Jessica Rogers
P S Perspectiveerspective S Providence College Art Journal 2019 Editors Isabella Christilles Liv D'Elia Noreen McGonigle Rita Murphy Jessica Rogers Photography Scott Alario Cover Art Liv D'Elia Jessica Rogers Special Thanks To Dr. Deborah Johnson Judd Schiffman Scott Alario Department of Art and Art History Kevin Sheahan Printing Sheahan Printing Corporation 1 Front Street Woonsocket, RI Copyright 2019 Providence College Table of Contents Art History Vivienne Strmecki....................................................3 Mary Grace Day......................................................17 Rita Murphy............................................................33 Noreen McGonigle.................................................49 Studio Art Isabella Christilles..................................................63 Catherine Day.........................................................71 Liv D'Elia.................................................................79 Marcus Karamanolis..............................................87 Amy Pineda.............................................................95 Jessica Rogers........................................................103 Grace Sneesby........................................................111 1 2 ART HISTORY ART HISTORY ART HISTORY ART HISTORY ART HISTORY VIVIENNE STRMECKI VIVIENNE STRMECKI VIVIENNE STRMECKI VIVIENNE STRMECKI VIVIENNE STRMECKI Shifts in Mindset: An Exploration of Art in the Paleolithic and Neolithic Periods he dramatic shift in prehistoric life- paper all have historical -
Rembrandt's Laughter and the Love of Art*
REMBRANDT’S LAUGHTER AND THE LOVE OF ART* H. Perry Chapman From the beginning of his career to the end, Rembrandt advertised his ability to represent not just emotions but also more enduring inner states or character traits through expressive self-portraits. This essay argues that through laughter, an unusual expression in a self-portrait, Rembrandt claimed to be an impassioned representer of the passions. To this end, it examines some of his earliest painted and etched self-portraits, his Self-Portrait with Saskia of about 1636, in Dresden, and the late Self-Portrait, in Cologne, all of which feature Rembrandt’s laughing face. It concludes that Rembrandt’s laughter also displays his delight in his mastery of the emotions. DOI: 10.18277/makf.2015.06 embrandt’s early supporters and critics lauded him for his naturalistic rendering of the emotions, which they- called the affecten (passions or motions of the mind). In 1718, in the first extensive biography of Rembrandt, Arnold Houbraken criticized Rembrandt as a breaker of rules, both artistic and social, yet the only work of Rart that Houbraken chose to reproduce in his entire three-volume book of biographies was a drawing of the Supper at Emmaus (fig. 1) that revealed Rembrandt’s “close observation of the various emotions.”1 Rembrandt’s former pupil Samuel van Hoogstraten, writing in 1672, characterized Rembrandt as a master at representing the “movements of the soul.”2 Even before Rembrandt had left Leiden, his earliest champion, Constantijn Huygens, secretary to Stadtholder Frederik Hendrik, had predicted that Rembrandt would be unsurpassed in rendering emotions. -
The Flowers and Bones of Georgia O'keeffe
THE FLOWERS AND BONES OF GEORGIA O’KEEFFE: A RESEARCH-BASED DISSERTATION CULMINATING IN A FULL-LENGTH PLAY: DAYS WITH JUAN A dissertation submitted to the Caspersen School of Graduate Studies Drew University in partial fulfillment of The requirements for the degree, Doctor of Letters Renata Renee Kessler Drew University Madison, New Jersey May 2021 Copyright © 2021 Renata Renee Kessler All Rights Reserved ABSTRACT The Flowers and Bones of Georgia O’Keeffe: A Research-Based Dissertation Culminating in a Full-Length Play: Days with Juan Doctor of Letters Dissertation by Renata Renee Kessler The Caspersen School of Graduate Studies Drew University May 2021 Was Georgia O’Keeffe a nature mystic? The Flowers and Bones of Georgia O’Keeffe examines mystical philosophies prevalent during O’Keeffe’s development as an artist and their influence on her. The influence of mysticism is sought through the examination of selected flower and bone paintings by the modernist artist. I have viewed selected works through an ethnobotanical and anthropological lens, seeking depth and meaning in the artist’s work beyond the current interpretations which focus on gender, sexuality, and feminism. Through the prism of lotus, jimson flower, poppy, and sand dollar cactus, I have explored their importance to O’Keeffe, as well as the context of these plants in Eastern, Western, and Native American cultures in which she was interested. Ethnobotanical sources and intercultural seminars at Ghost Ranch, New Mexico, were included in my research. In addition, a selection of tree portraits, representations of mystical writers the artist admired, are included. These portraits include The Lawrence Tree (D. -
Gilescat20-200416-Website.Pdf
2020/2021 1 Foreword As I write, the number of confirmed Coronavirus infections worldwide has passed 150,000, with new cases reported as far afield as California, New York, Cairo, and Scotland. Last week the news was all about northern Italy, before that about Japan and South Korea in the aftermath of Wuhan – this week has seen a sharp spike in cases across the whole of the US and Europe, as we learn that the virus may have existed undetected for many weeks in these areas. This much seems certain: the number of reported infections will increase, and it’s likely that all of us will have to start changing the way we live: whether its purchasing face-masks and hand-sanitizer (if you can find them), avoiding mass transportation, postponing business trips, or arranging short-notice child-care. We’re hearing a lot about “self-isolating” in the media, but what will it mean for the global economy and wider society? In the publishing world we’ve already seen the ripple effects from Covid-19, with short-notice movements in production from the Far East to Europe, and the cancellation of the Bologna, London and Paris book fairs. And can we build some collective head-space away from the seemingly unstoppable narrative of anxiety-inducing news? Perhaps the answer lies in seeing beauty and energy in the most unlikely places – whether it’s the survival of Botticelli’s Ideal Portrait of a Lady (“Simonetta Vespucci”), emerging out of the rubble of post-war Europe (The Berlin Masterpieces in Head Office and General Enquiries America Paintings. -
Revising Devotion: the Role of Wooden Sculptures in Affecting Painting and Devotion in the Late Medieval Period in Italy (XII-XV Century)
Revising Devotion: the role of wooden sculptures in affecting painting and devotion in the Late Medieval period in Italy (XII-XV century) Daniele Di Lodovico A dissertation SuBmitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Stuart Lingo, Chair Estelle Lingo Ivan Drpić Program Authorized to Offer Degree Art History © Copyright 2016 Daniele Di Lodovico University of Washington Abstract Revising Devotion: the role of wooden sculptures in affecting painting and devotion in the Late Medieval period in Italy (XII-XV century) Daniele Di Lodovico Chair of the Supervisory Committee: Professor Stuart Lingo Art History This dissertation offers a reconsideration of medieval wooden sculptures and a new perspective for understanding their role in affecting devotion and pictorial production in late medieval and Renaissance culture. My study focuses on the diffusion and use of the sculptures from the group of the Descent from the Cross through the development of the animated sculptures of Christ from around 1100 to around 1560. Historically these objects have Been considered principally as devotional objects and utilized to understand devotional practices and ceremonies; conversely, I assert that they represented the catalyst of a new, unfiltered experience of the sacred in which the laity were aBle to access and shape a powerful and direct relationship with the human side of Christ, eluding the controlling role of the Church. Even if the iconography of these sculptures did not bring anything new in comparison with their pictorial counterpart, I argue that the utilization of these sculptures guaranteed a connection with the divine through physicality and the ability to create a spatial experience of the sacred. -
Newglass Review 22
eview The Corning Museum of Glass NewGlass Review 22 The Corning Museum of Glass Corning, New York 2001 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made between der Voraussetzung ausgewahlt, dass sie zwi- October 1, 1999, and October 1, 2000. schen dem 1. Oktober 1999 und dem 1. Okto- ber 2000 entworfen und gefertig wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Museum Way Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] To Our Readers An unsere Leser Since 1985, New Glass Review has been printed by Seit 1985 wird New Glass Review won der Ritterbach Ritterbach Verlag GmbH in Frechen, Germany. This Verlag GmbH in Frechen, Deutschland, gedruckt. Dieser firm also publishes NEUES GLAS/NEW GLASS, a Verlag veroffentlicht seit 1980 auBerdem NEUES GLAS/ quarterly magazine devoted to contemporary glass- NEW GLASS, eine zweisprachige (deutsch/englisch), making. vierteljahrlich erscheinende Zeitschrift, die uber zeitge- New Glass Review is published annually as part of the nossische Glaskunst weltweit berichtet. April/June issue of NEUES GLAS/NEW GLASS. It is Die New Glass Review wird jedes Jahr als Teil der Mai- also available as an offprint. Both of these publications, ausgabe von NEUES GLAS/NEW GLASS veroffentlicht. as well as subscriptions to New Glass Review, are avail Sie ist aber auch als Sonderdruck erhaltlich. -
Carrie Mae Weems and Narcissister Reclaim the Mirror
Oppositional Reflections: Carrie Mae Weems and Narcissister Reclaim the Mirror Anna Garski May, 2016 TABLE OF CONTENTS TITLE PAGE . .i COPYRIGHT NOTICE . .ii TABLE OF CONTENTS . .iii LIST OF FIGURES . .iv ABSTRACT . .v INTRODUCTION . 1 CHAPTER I. The Genealogy of ‘The Mirror’ and Feminine Vanity. .7 II. Carrie Mae Weems: Oppositional Reflections of Radical Vanity. .27 III. Narcissister: Radical Narcissism and the Negation of Shame. .52 TABLE OF FIGURES. .72 REFERENCES. .81 List of Figures Figure 1 Peter Paul Rubens, Venus Before a Mirror, oil on wood, 1614-15. Figure 2 Édouard Manet, Olympia, oil on canvas, 1863-1865. Figure 3 Carrie Mae Weems, Mirror Mirror, silver gelatin print, 1986. Figure 4 Carrie Mae Weems, Not Manet’s Type, silver gelatin with text on mat, 1997. Figure 5 Carrie Mae Weems, Untitled (Man and mirror), The Kitchen Table Series, silver gelatin print, 1990. Figure 6 Carrie Mae Weems, Untitled (Woman and daughter with makeup), The Kitchen Table Series, silver gelatin print, 1990. Figure 7 Narcissister, Everywoman, video still, 2009. Figure 8 Narcissister, Narcissister is You, Envoy Arts, 2013. Figure 9 Narcissister, Narcissister is You, Envoy Arts, 2013. Figure 10 Narcissister, video still, San Francisco Art Institute, October, 2015. Figure 11 Narcissister, video still, San Francisco Art Institute, October, 2015. 2 Abstract Across their different artistic practices, photographer Carrie Mae Weems and performance artist Narcissister both work to subvert conventional myopic definitions of vanity and narcissism through the oppositional use of ‘the mirror.’ To understand the symbolic function of the mirror in their artwork and its function in contemporary visual culture, one must consider a genealogy of vanity and narcissism.