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INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 5 Order Number 9011256 Four martyr icons of R. B. Kitaj: An analysis of their pictorial narratives Salus, Olivia Carol, Ph.D. The Ohio State University, 1989 Copyright ©1989 by Salus, Olivia Carol. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 i FOUR MARTYR ICONS OF R.B. KITAJ: AN ANALYSIS OF THEIR PICTORIAL NARRATIVES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Olivia Carol Salus, M.S., M.A. ***** The Ohio State University 1989 Reading Committee: Mathew Herban Franklin M. Ludden Howard Crane Adviser' Christine Verzar Department of the History of Art Copyright by Olivia Carol Salus 1989 To My P a re n ts ACKNOWLEDGEMENTS I acknowledge here great indebtedness to Dr. Mathew Herban. His knowledge and helpfulness made possible this study. Perhaps even more, through his efforts he helped me develop publishable research. His influence is felt everywhere in my work. He taught me the importance of a thorough approach to teaching and research. Without him I would not have a professional career. Special thanks I also extend to Mr. Ronald Kitaj. His willingness to answer my questions both in person and with thoughtful responses to my letters was crucial to this study. I am very grateful to him. I should like to mention those who kindly read the manuscript of this dissertation and offered suggestions for its improvement: they are Dr. Franklin Ludden, Dr. Howard Crane, Dr. Christine Verzar and Mr. Edward Henning, Curator of Modern Art Emeritus, The Cleveland Museum of Art. Mr. Henning explained my intentions of study to Kitaj through a letter of introduction. I am very appreciative of his efforts. Also I would like to thank my parents for their patience and encouragement which gave me peace of mind through all of these years. VITA 1969 ............................................................. B.A. Carnegie-Mellon University Pittsburgh, Pa. 1971 ............................................................. M.S. Syracuse University Syracuse, New York 1971-75 Freshman Advisor Office of the Dean of Women Miami University Oxford, Ohio 1977-80 ...................................................... Instructor, Department of Fine Arts, John Carroll University Cleveland, Ohio 1978 ............................................................. M.A. U n iv e r s ity o f C in c in n a ti Cincinnati, Ohio 1984-85 ...................................................... Visiting Assistant Professor, Department of Art History, Kent State University K ent, Ohio 1985-Presen t .........................................Assistant Professor, Department of Art History, Kent State University K ent, Ohio PUBLICATIONS "Degas1'Young Spartans Exercising,'" The Art Bulletin, 1985, Volume LXVII, Number 3, pp.501-506. FIELDS OF STUDY Major Field: History of Art V TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................i i VITA ......................................................... iv LIST OF PLATES ............................................. vii INTRODUCTION.........................................................................................................................1 CHAPTER I The Murder of Rosa Luxemburg........................................... 15 CHAPTER II Isaac Babel Riding withBudyonny ....................................................................57 CHAPTER I I I Go and Get Killed Comrade-We Need a Byron in the Movement..........................................................................................................129 CHAPTER IV Autumn of Central Paris (After Walter Beniamin) .............................175 CONCLUSION..........................................................................................................................250 BIBLIOGRAPHY....................................................................................................................262 LIST OF PLATES P la te Page I. The Murder of Rosa Luxemburg. 1960. L.30, 60 x 60 in., oil and collage on canvas. The Tate Gallery, London. (Source for other than Livingstone monograph w ill be noted in parentheses.) ..................................275 II. Johannes Schilling, Niederwald Monument. (1 8 7 7 -8 3 ). 3 3 ' 2" on 84' b a s e , b ro n z e . (Titel, Das Niederwald Denkmal, plate I) ... 276 III. Janus Genelli, Monument to Kant. 1808. no dimensions given, watercolor. National Gallery, East Berlin. (Journal of Warburg and Courtauld Institutes II 1938, fig. b) .................................................................. 277 IV. Johann Heinrich Dannecker, Monument to Frederick the Great and His Generals, late 1700's. no dimensions given, aquatint. Berlin-Dahlem Museum, West Berlin. (Neumeyer, Journal of the Warburg and Courtauld I n s t i t u t e s II 1938, f i g . d) ..........................................278 V. Max Beckmann, The Martyrdom. 1919. 11 ft. x 15 ft., lithograph. Graphisches Kabinett, J.B. Neumann, West Berlin. (C. Lenz, Journal der Berliner Museen 16, 1974, fig. 1) .............................................................................279 VI. Robert Rauschenberg. Lincoln. 1958. 17 x 20 7/8 in., oil and collage on canvas. The Art Institute of Chicago, Chicago. (Stich, Made in U.S.A, fig. 25) ............................. 280 vii P la te Page VII. Max Ernst, "Lion of Belfort," Une Semaine de Bont6. 1934. 8 1/8 x 11 in., collage novel. (E rnst, Une Semaine de B o n t§ . p la te 3) ..............281 VIII. Jacques-Louis David, Marie Antoinette Brought to Execution. 1793. 6x4 in., ink. Louvre, Paris. (Valentiner, Jacques-Louis David and the French Revolution, fig. 9) ..............................................................282 IX. Murder of Rosa Luxemburg. 1960. detail, Niederwald Monument. The Tate Gallery, London. photograph by the author.................................................283 X. Murder of Rosa Luxemburg. 1960. detail, pyramid. The Tate Gallery, London. photograph by the author.................................................284 XI. Dante Gabriel Rossetti, Proserpine. 1873-77. 49 3/4 x 24 in., oil on canvas. The Tate Gallery, London. (M. Henderson, Dante Gabriel R ossetti, p . 77) ............................................................................................... 285 XII. Isaac Babel Riding with Budyonny. 1962. 40 x 60 i n . , o i l on c a n v a s. The Tate Gallery, London. (Schear, Arts 59 September, 1984, p.74) .... 286 X III. Isaac Babel. 1928. no dimensions given., drawing. (E ncyclopedia J u d a ic a , V o l. B, p . 19) ...................287 XIV. F a n ta s i y a . no d a te g iv e n . no dimensions given, photograph. (Dodge, Riders o f Many Lands, n.p.) ..................... 288 viii P la te Page XV. English Rider, no date given, no dimensions given, photograph. (Dodge, Riders of Many Lands, n.p.) ..................... 289 XVI. Country Bumpkin, no date given, no dimensions given, drawing. (Dodge, Riders of Many Lands, n.p.) ..................... 290 XVII. South Africa and the Transvaal War. 1901. 10 3/4 x 8 1/2"., embossed leather book c o v e r................................................................................................ 291 XVIII. "Crane Man." German Pamphlet, Cologne, 1664. no dimensions given. (Wittkower, Journal of Warburg and Courtauld Institutes V 1942,plate 49f) .................................... 292 XIX. "Crane Man." from Prodigiorum ac ostentorum chronicon of Lycosthenes (pseudonym of Conrad W olffhart), 1557. (Wittkower, Journal of Warburg and Courtauld Institutes V 1942, plate 49b) ................................................................................... 293 XX. Disconsolate Chimeras/ Shades of Benia Krik (after Isaac Babel). 1962. 20 x 16 in., oil on
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