Dissertations / Theses: 'Volterra (Italy) in art'

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Moore, Ede Minna. "Religious art and Catholic reform in Italy, 1527-1546." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395234.

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Mattozzi, Louisa Parker. "The feminine art of politics and diplomacy : the roles of duchesses in early modern Italy /." Full text available, 2004. http://images.lib.monash.edu.au/ts/theses/mattozzi.pdf.

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Kittler, T. "Living art and the art of living : remaking home in Italy in the 1960s." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1435866/.

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This thesis focuses on the social, material, and aesthetic engagement with the image of home by artists in Italy in the 1960s to offer new perspectives on this period that have not been accounted for in the literature. It considers the way in which the shift toward environment, installation and process-based practices mapped onto the domestic at a time when Italy had become synonymous with the design of environments. Over four chapters I explore the idea of living-space as the mise-en-scène, and conceptual framework, for a range of artists working across Italy in ways that both anticipate and shift attention away from accounts that foreground the radical architectural experiments enshrined in MoMA’s landmark exhibition Italy: the New Domestic Landscape (1972). I begin by examining the way in which the group of temporary homes made by Carla Accardi between 1965 and 1972 combines the familiar utopian rhetoric of alternative living with attempts to redefine artistic practice at this moment. I then go on to look in turn at the sculptural practice of artists Marisa Merz and Piero Gilardi in relation to the everyday lived experience of home. This question is first considered in relation to the material and psychic challenges Merz poses to the gendering of homemaking with Untitled (Living Sculpture) 1966. I then go on to explore the home, as it might be understood in ecological terms, through an examination of the polyurethane microhabitats made by Gilardi. These themes are finally drawn together by looking at a radically different type of work, Carla Lonzi’s book Autoritratto (1969). By examining the images interspersed throughout Autoritratto I consider how this book plays out the lives of fourteen prominent artists to create the semblance of an everyday shared lived experience.

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Aguirre, Mariana G. "Artistic collaboration in Fascist Italy : Ardengo Soffici and Giorgio Morandi." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318288.

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Geddes, Helen Louise. "The marble altarpiece in Italy C. 1330 - C. 1420." Thesis, University of Warwick, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367964.

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Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.

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Dahlin, Brittany. "Caroline Murat: Powerful Patron of Napoleonic France and Italy." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4224.

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Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808-1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century. Many of these works varied in style and content, but all helped in creating an ideal identity for Caroline. In all of the works she is portrayed as a powerful woman. She is either powerful by her settings (in the drawing room, or with Vesuvius in the background), her vast knowledge in the arts and fashion, her motherhood, her sensuality, or the way in which she is positioned and how she is staring back at the viewer within the works. The creation of this identity was uniquely Caroline's, mimicking Marie de Medici, Marie Antoinette and Josephine and Napoleon Bonaparte, while adding her own tastes and agendas to the creation. Through this identity she proved herself to be as equally French as Italianate through dress and surroundings. She even created a hybrid of fashion, wedding the styles together, by adding black velvet and lace to a simple empire-waisted silhouette. Caroline proved herself as politician, mother, educated and refined woman, pioneer in fashion, and Queen through the art that she purchased and commissioned.

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Sandford-Couch, Clare. "Images of justice in northern Italy, 1250-1400." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9566.

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This thesis considers some of the ways in which images of justice were used to express and in some cases promote certain aims and aspirations of those who commissioned them, in northern Italy between c.1250-1400, and whether and to what extent this impacted upon their depiction. It explores the question of a sacred/secular distinction in relation to the use and depiction of images of justice, and proposes that certain changes in such images can be read as responses to developments in the law and in the secular justice system. An introduction defines the essential elements of the subject and the main objectives of the thesis. As the thesis takes a social historical perspective, the first chapter provides details to establish the historical context for the following case studies. The main body of the thesis adopts a thematic approach. The second chapter examines the interrelationship of divine and secular justice through an analysis of images depicting the Last Judgment, or referencing its imagery. First it looks at several monumental representations of the Last Judgment, addressing developments in the artistic treatment of the torments of Hell in the context of changes in contemporary legal punishment practices. The chapter then explores further the relationship of earthly punishments and divine imageries, in a work not previously studied as an image of justice. The congruence in these artworks of sacred and secular elements allows a discussion of the interrelationship of these terms in relation to the contemporary conception and practices of justice. Further chapters examine how a new and increasing emphasis on the judge in the prosecution procedure from the early thirteenth century is mirrored in the artistic representation of secular and judicial authority after that period. This is first addressed by analysing images of the trials of Christ as examples of ‘secular’ justice in a religious or ‘sacred’ context, and exploring how contemporary issues relating to the administration of justice contribute to an understanding of changes in the iconography of these scenes. A fourth chapter addresses images more overtly associated with secular and judicial authority, offering a new perspective on these images as expressions of contemporary societal interests, many arising from the justice system, leading to their use as exemplars, to guide and inform. The thesis contributes to the debate on the distinction between the terms ‘sacred’ and ‘secular’ in the late medieval period, exploring how analysing artworks can lead to a better and more nuanced appreciation of the application of those terms in relation to the contemporary notion of justice. Further, my research has indicated that what could account most comprehensively for certain changes in the use and depiction of such images may be found in specific aspects of a justice system in transition.

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Emanuel, Angela. "Julia Cartwright, 1851-1924, art critic and historian of Renaissance Italy." Thesis, University College London (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327552.

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Berzal, Javier. "The Spectacle of Space: Visual Experiences in the Early Modern Scenography of Italy." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397156627.

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Jacobus, Laura Sara. "Gesture in the art, drama and social life of late medieval Italy." Thesis, Online version, 1994. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.363474.

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Currie, Morgan. "Sanctified Presence: Sculpture and Sainthood in Early Modern Italy." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:14226067.

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This dissertation examines the memorialization of dramatic action in seventeenth-century sculpture, and its implications for the representation of sanctity. Illusions of transformation and animation enhanced the human tendency to respond to three-dimensional images in interpersonal terms, vivifying the commemorative connotations that predominate in contemporary writing on the medium. The first chapter introduces the concept of seeming actuality, a juxtaposition of the affective appeal of real presence and the ideality of the classical statua that appeared in the work of Stefano Maderno, and was enlivened by Gianlorenzo Bernini into paradoxes of permanent instantaneity. This new mystical sculpture was mimetic, not because it depicted events narrated elsewhere, but imitated mutable, time-bound, spiritual activity with arresting immediacy in the here and now. No other form of image could so fully evoke the mingling of human immanence and divine transcendence that was the fundamental basis of sanctity. Chapters Two through Four closely analyze the sculptural construction hagiographic identities for Ludovica Albertoni, Alessandro Sauli, and John of the Cross, and their interplay with political, social, and religious factors. The discovery of connections between marble and wooden statuary further broadens our understanding of the expressive range of the medium. The homology between saintly and sculptural exemplarity reveals a far more dynamic, interactive, and rhetorical conception of the medium than is portrayed in early modern theoretical writings.

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Andronikou, Anthi A. "Italy and Cyprus : cross-currents in visual culture (thirteenth and fourteenth centuries)." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7861.

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This thesis sets out to probe the complex artistic contacts between Italy and Cyprus in the visual arts during the High and Late Middle Ages. The Introduction provides a critical review of the subject. Chapter I maps out the various types of links (with respect to trade, religion, warfare, art, culture) between Italy and Cyprus in the thirteenth and fourteenth centuries. Chapters II and III examine the multifaceted artistic negotiations between southern Italy (mainly Apulia) and Cyprus in the thirteenth century, by closely examining a cluster of frescoes and panel paintings. Through a set of historical, cultural and artistic (stylistic and iconographic) approaches, these chapters aim to supersede the somewhat limited style-oriented analyses of previous contributions to this area of study. The hitherto unverified and convoluted relations between the two regions are revisited and affirmed within a new conceptual framework. Chapters IV and V investigate fourteenth-century cross-currents as seen in two cases that have formerly occupied a marginal position in discussions of intercultural exchanges between Italy and Cyprus. The first is the transplantation and manifestation of the cult of Saint Thomas Aquinas in Cyprus, and the second, the hybrid series of icons created by Italian painters working on the island. Both cases are appraised as a record of historical realities and not as the by-products of casual encounters. The thesis historicises these contacts and in doing so, contributes to a broader understanding of cultural transmission and convergence in the Medieval Mediterranean.

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Woodall, Dena Marie. "SHARING SPACE: DOUBLE PORTRAITURE IN RENAISSANCE ITALY." online version, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=case1214411123.

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Bottinelli, Giorgia. "The art of dissent in fascist Italy : the Bottai years, 1936-1943." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548087.

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Richards, John Corley. "Altichiero and humanist patronage at the courts of Verona and Padua 1360-1390." Thesis, University of Glasgow, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.257190.

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Vernon, Clare Mary. "Visual culture in Norman Puglia c.1030-1130." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708775.

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Gatti, Luca. "The art of freedom : meaning, civic identity and devotion in Early Renaissance Florence." Thesis, Birkbeck (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283367.

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Groom, Simon. "An art autre. Michel Tapie and the informel adventure in France Japan and Italy." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251675.

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Bryan, Katie Jane. "A reassessment of Donatello's and Titian's Penitent Magdalens and the perspectives they offer on women and religion in Italian Renaissance art and society." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B45143626.

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Andreotti, Libero. "Art and politics in Fascist Italy : the Exhibition of the Fascist Revolution (1932)." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/14179.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.
Title as it appeared in M.I.T. Graduate List, Sept. 1989: Art and politics in Italy; the Exhibition of the Fascist Revolution.
Includes bibliographical references.
by Libero Andreotti.
Ph.D.

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Pazzaglia, Nicoletta. "Madness Apparatus: Gender Politics, Art and the Asylum in Fin-de-Siècle Italy." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18729.

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My dissertation focuses on literary and photographic representations of female madness as a means of exposing the material violence that notions of normality and of national identity produced in Italian society during the fin-de-siècle. Although many studies explore the exclusion of minorities in the project of nation-making, the mentally ill have rarely been discussed. Those studies that focus on literary representations of madness usually treat it as a metaphor or literary expedient and leave unexplored the material violence that psychiatric institutions inflicted on the mentally ill body. I aim to connect cultural realities and their representations, exploring the ways in which psychiatric and state power constructed and used the mentally ill body in the quest to create national identity. This quest was rooted in the widespread image of Italians as effeminate southerners from a backward, pre-modern part of Europe, an image that led to a crisis of masculinity. In my study I consider the crisis of masculinity vis-à-vis practices of asexualization of the body conducted inside the asylum. Through a parallel analysis of psychiatric photography and literary representations of female madness in Giovanni Verga, Luigi Capuana, Gabriele D'Annunzio, and Futurist avant-garde writers, my study shows how these practices actively contributed to social constructions of madness. Chapter I is an introduction to the development of modern psychiatry vis-à-vis the project of national identity formation in post-unification Italy. Chapter II analyzes first literary representations of female madness and psychiatric portraits of female patients to argue that the asexualization of patients' bodies was used to offer an ontological weight to national manhood. Chapter III explores the phenomenon of hysteria to show how the body of the hysterical woman functioned as apparatus used to produce normalization. Chapter IV examines how the futurist avant-garde overturned the madness apparatus at the beginning of the twentieth century. The conclusion I draw is that the mentally ill body functioned as an abjected or excluded other whose alterity was key to the construction of Italian identity.

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Corry, Maya. "Masculinity and spirituality in Renaissance Milan : the role of the beautiful body in the art of Leonardo da Vinci and Leonardeschi." Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669816.

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Tamboer, Kimberly Jean. "Artistic Achievements of Convent Women in Renaissance Italy: with case studies in Venice and Prato." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/327335.

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Art History
M.A.
This thesis evaluates the artistic contributions of convent women in Renaissance Italy during the period c. 1450-1550 with individual case studies in Venice and Prato. As the cost of the traditional marriage dowry inflated markedly over the course of the fifteenth century, an increasing number of girls from affluent family backgrounds were sent to the convent in an effort to spare their families the financial burden of marrying them off. Convent vocations were not only financially convenient for families with daughters but offered a socially respectable alternative to marriage that many came to rely upon over the course of the latter fifteenth and sixteenth centuries. The heightened presence of highborn girls in Italian convents seems to correspond with a concurrent development in female monastic artistic production. This point will be demonstrated in my study through analysis of two objects: the illustrated convent chronicle of Santa Maria delle Vergini (c. 1523), now in the Museo Correr in Venice and the illustrated frontispiece of Beatrice del Sera's convent play Amor di virtù (1555), preserved in the Biblioteca Riccardiana in Florence. Both of the considered works complement a text also written by convent women during the same period that demonstrate their knowledge of historic and current events, in addition to contemporaneous developments in the visual arts. The corresponding texts will be examined in a supporting manner to aid in interpreting the subject matter of the illustrations. Subsequent to identifying the pictorial content of these illustrations, I will elucidate how the convent artists successfully assert a female identity through their respective visual representations, and determine what specific type of identity they were motivated to promote.
Temple University--Theses

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Norris, R. Mae. "Beyond the battlefield : Venice's Condottieri families and artistic patronage : the Colleoni of Bergamo, Martinengo di Padernello of Brescia and the Savorgnan del Monte of Udine (1450-1600)." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708397.

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Nuttall, Paula. "Early Netherlandish painting in Florence : acquisition, ownership and influence c.1435-1500." Thesis, University of London, 1989. http://books.google.com/books?id=AurVAAAAMAAJ.

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Greeley, Anne Lindsey. "Being and theatricality : the staging of the metaphysical in Giorgio de Chirico's 'Pittura Metafisica'. 1910-1914." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.724965.

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Vülser, Ingrid. "The theme of death in Italian art : the triumph of death." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33944.

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This paper focuses on the evolution of the theme the Triumph of Death, the representation of the personification of death and the dead in the late Middle Ages. The first part of this thesis represents different points of view of art historians and historians concerning the death and the afterlife. There follows a short description and analysis of the cultural environment especially regarding literature which closely relates to the visual art and the representation of death. The last part describes three themes of death and the most important representations in frescoes, panels, bas-reliefs of the Triumph of Death evincing the main idea and the underlying structure and composition. Two different ways of representation can be distinguished: the Triumph of Death in the shape of the apocalyptic rider as appearing in the Revelation of Saint John the Evangelist and the Triumph of Death based on Petrarch's poem the Trionfi.

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Mariani, Irene. "Vespucci family in context : art patrons in late fifteenth-century Florence." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15740.

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The study of Florentine artistic patronage has attracted several approaches over the last three decades, including the exploration of patron-‐client structures and how the use of art in private and public spheres contributed to shape families’s identity. Building on past research, this work focuses on the art patronage of a prominent, yet overlooked, family, the Vespucci, to whom Amerigo, the navigator who reached the coasts of America in the late fifteenth century, belonged. Although the family’s importance was achieved through a synergy of political, religious and intellectual forces, attention is given to the Vespucci’s engagement with the arts and their key contribution to Florence’s humanistic culture between the years 1470-1500. The family’s houses and private chapels are analysed, and three artists, Botticelli, Ghirlandaio and Piero di Cosimo, considered. Combining history, art history, and archival resources, new evidence and interpretations are advanced to ascribe selected artworks - controversially believed to be Vespucci commissions - to the private patronage of this Florentine family. Examining the Vespucci’s artistic taste in private and public settings, whilst attempting a reconstruction of partially lost painted commissions, deepens comprehension on the role that domestic and social life played in the creation of art and culture; the family’s force in shaping spaces; and the practice of buying, commissioning, and displaying as a means of signifying wealth, increasing status, and establishing identity. Power seekers, the Vespucci entered the Medici intellectual circles through which they created chains of friendship with prominent families inside and outside of Florence. As questions about shared artistic tastes and the paradigmatic role of the Medici artistic patronage have been the focus of scholarly enquiry, this study of the Vespucci provides an insight into the family’s spreading of new ideas and its interaction with the development of the visual arts. Investigation into the Vespucci’s breadth of interests helps to reframe the current knowledge of Florentine cultural exchanges and to contextualise the family’s influence beyond the geographical discoveries it has been exclusively associated with.

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Querard, Alexandra Eurith. "On the art of historia : the restoration and extension of the Casa del Mantegna." Thesis, Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/23733.

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West, Priscilla S. "Text into art : the Chronica Dominicana and Tomaso de Modena's Chapter House frescoes at San Nicolò in Treviso /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3045098.

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Thesis (Ph. D.)--University of Oregon, 2002.
" ... Scotti's engraving of S. Nicolò Chapter House frescoes" ([1] folded leaf) inserted in pocket. Typescript. Includes vita and abstract. Includes bibliographical references (leaves 485-501). Also available for download via the World Wide Web; free to University of Oregon users.

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Groom, Simon. "An art autre : Michel Tapié and the informal adventure in France, Japan and Italy." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496200.

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Tal, Guy. "Witches on top : magic, power, and imagination in the art of early modern Italy /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230548.

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Thesis (Ph.D.)--Indiana University, Dept. of the History of Art, 2006.
Title from PDF t.p. (viewed Dec. 4, 2008). Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 2790. Adviser: Bruce Cole.

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Kuhn, Maria Diane. "Mother Mary Comes to Me: The Stylistic Shift in Portrayals of Mary and her Adoration in Medieval Italy." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619455685665479.

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Brummer, Esther Elliott. "The development of the Nuptial Allegory in early modern Venice." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609942.

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Marfella, Claudia. "Art, industrial design, science and popular culture : modernism and cross-disciplinarity in Italy and Great Britain, 1948-1963." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/33746/.

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Conceived inside a chronological frame, which starts in 1948, the year the Institute of Contemporary Arts in London founded, and ends in 1963, when Gillo Dorfles wrote a crucial essay on industrial design, concluding more than a decade of discussions, the thesis aims to examine some artistic and cultural phenomena identified in Italy and Great Britain, and seen as the acknowledgement or as the reaction to modernity. Topics and fields taken in consideration within the thesis are technology, science (fact and fiction), vision of the future, the relationship between arts and the awareness of industrial design as a new discipline. All these aspects, that might seems unusual in relationship with visual arts, are perceived as the expression of a second phase of Modernism. The British personalities included in the thesis are Reyner Banham, Richard Hamilton, Nigel Henderson, John McHale, Eduardo Paolozzi, Alison and Peter Smithson, all members of the Independent Group. With the presence of architects, visual artists, photographers, critics and, in a broader sense, designers, the group encompassed a variety of popular interests, with the inclusion of mass‐produced goods. The Italian figures presented in the thesis – Gillo Dorfles, Bruno Munari, Ettore Sottsass and Giuseppe Pinot‐Gallizio – focused on industrial design objects, viewed as a new artistic branch, to promote, to plan or to question. Other recurring figures analysed in the thesis are Max Bill, Asger Jorn and Tomás Maldonado, who give international connections to the themes and British and Italian personalities examined. In order to provide a wider understanding of the 1950s and their crucial function in the story of post‐war Europe, the thesis aims to emphasise the role played at different level by British and Italian visual artists, designers and critics, and explain the reasons that, in the following decade, would push Italy in its industrial miracle and Great Britain at the peak for its popular culture, pop music and fashion creativity.

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Ortega, Jessica. "Pestilence and prayer saints and the art of the plague in italy from 1370 - 1600." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/594.

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Stemming from a lack of scholarship on minor plague saints, this study focuses on the saints that were invoked against the plague but did not receive the honorary title of plague patron. Patron saints are believed to transcend geographic limitations and are charged as the sole reliever of a human aliment or worry. Modern scholarship focuses on St. Sebastian and St. Roch, the two universal plague saints, but neglects other important saints invoked during the late Medieval and early Renaissance periods. After analyzing the reasons why St. Sebastian and St. Roch became the primary plague saints I noticed that other "minor" saints fell directly in line with the particular plague associations of either Sebastian or Roch. I categorized these saints as "second-tier" saints. This categorization, however, did not cover all the saints that periodically reoccurred in plague-themed artwork, I grouped them into one more category: the "third-tier" plague saints. This tier encompasses the saints that were invoked against the plague but do not have a direct association to the arrow and healing patterns seen in Sts. Sebastian and Roch iconographies. This thesis is highly interdisciplinary; literature, art, and history accounts were all used to determine plague saint status and grouping, but art was my foundation. I examined important works of art directly associated with the plague and noted which saints appeared multiple times. The results from that assessment spurred further hagiographic and literary study. It was clear that these saints had multivarient connections to the plague. This study into the lives of the saints reaffirms their placement in the artistic and religious history of the pestilential epidemic of the Medieval and early Renaissance periods.
B.A.
Bachelors
Arts and Humanities
Art History

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Wehmeier, Jennifer ML. "Constructing a pantheon of allies princely portraits and all'antica palace decorations in Renaissance Italy during the reign of Holy Roman Emperor Charles V /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610113721&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Bailie, Lindsey Leigh. "Staging Privacy: Art and Architecture of the Palazzo Medici." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11049.

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xii, 112 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The Palazzo Medici was a site of significant social and political representation for the Medici. Access to much of the interior was limited, ostensibly, to the family. In republican Florence, however, visitors were a crucial component in the maintenance of a political faction. Consequently, the "private" spaces of the Palazzo Medici were designed and decorated with guests in mind. Visitor accounts reveal that the path and destination of each visitor differed according to his status and significance to the family. The common citizen waited, sometimes for great lengths, in the courtyard, taking in the anti-tyrannical message of the space. The privileged guest, who had more to provide the Medici, was given access to the more private spaces of the residence. Surrounded by art and architecture that demonstrated the faith, education, and wealth of the Medici, he was assured that his support of the family was beneficial to his own pursuits.
Committee in charge: James Harper, Chairperson; Jim Tice, Member; Jeff Hurwit, Member

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Althoff, Julie. "Il Sacro Bosco d'amore, communication through desire." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq64104.pdf.

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Hollevoet, Christel. "Contribution à l'étude de la représentation picturale de la ville dans le futurisme italien." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59244.

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Partant du constat de l'importance du sujet pour le peintre futuriste a une epoque ou les avant-gardes europeennes tendent a l'abstraction, la presente etude demontre que la ville fut un theme capital dans l'elaboration de l'esthetique futuriste. En effet, les peintres italiens ne cherchaient pas tant a depeindre l'apparence, l'aspect visible de la ville qu'a apprehender de facon conceptuelle les idees-forces qui en emanaient. A travers l'entite "ville", ils revelerent les concepts inherents au monde moderne et en etablirent les equivalents plastiques.
Ainsi, c'est a travers le sujet de la ville que s'expriment les idees-forces les plus originales du mouvement, telles que la modernolatrie, le dynamisme universel, la vitesse, le devenir, la transformation, l'unanimisme et le simultaneisme, illustres dans trois chapitres intitules 'La ville montante', 'La ville electrisee' et 'La ville simultanee'. Geux-ci demontrent comment certains motifs recurents du cadre urbain comme les echafaudages des chantiers de construction, les lampadaires, les foules ou les bolides sont transcendes par ces idees-forces. La representation de la ville par les futuristes ne releve pas simplement de la description mais d'un programme d'abord politique puis esthetique: l'avant-garde italienne a cree une nouvelle conception du beau, a revele la beaute de la ville moderne et des valeurs qui lui sont inherentes.

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D'Angelo, Tiziana. "Painting Death with the Colors of Life: Funerary Wall Painting in South Italy (IV-II BCE)." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10920.

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This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics.
The Classics

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Gibb, Reba Ann. "A study of the early Renaissance Sibyl cycles in the art of Northern and Central Italy." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/80313/.

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Sibyl cycles in Northern and Central Italy, in the Early Renaissance. Previous published scholarship listed twenty-two sites. I now know of forty. Twenty-three of these may be considered Early Renaissance works of art and are the subject of this study. This study is not primarily engaged with history of Art but with the history of Ideas. That is, it is not a study of the painters. their methods and status but rather with the study of the development of the genre. its textual sources, the content of the inscribed oracles. the development of the pictorial conventions and symbolism. the transmission of these and the cultural significance of the genre. The dissertation is concerned with artistic styles and techniques only in so far as they illuminate the pictorial origin of the works and their iconographic significance in terms of the ideas conveyed. It describes and defines regional sub-genres. each with clear rules and conventions. These have not previously been identified and no comprehensive national conspectus exists. Structure of the Dissertation The dissertation is in three parts. The first part addresses the nature and origin of Sibyls (who and what they were) and their significance in cultural history until the Renaissance. Part Two is concerned with the origins and transmission of text and iconographic conventions in the Renaissance Sibyl cyeles. Pari three is a catalogue and survey of each Sibyl cycle site in Central and Northern Italy, along with a comprehensive photographic record. Great destruction of some cycles has taken place since the 1960s and the compilation of a complete photographic record is urgent and a significant aim of the present work. There are few published coloured photographs of the full cycles. none complete except for Siena. This dissertation is wide in scope and is in large part a catalogue and survey of all known Italian Sibyl cycles. Because of the limitations of a Doctoral dissertation. at times the transition from one site to another may appear abrupt and disjunct. Nonetheless, the structure is logical and careful. Sites are arranged chronologically, according to genre. The reader is directed to the detailed table of contents, if a review of structure and order be required. Research Method The method of research was to form a comprehensive list of Sibyl sites in Italy by consulting published English and Continental books. journals and locally produced historical papers as well as word of mouth advice in Italy. I visited all the sites and made a photographic record. Origin and transmission of text was established by consulting contemporary manuscripts that either specify the oracle text or describe the original Orsini. and other, frescos. These manuscripts are widely scattered in Europe and difficult of access so, where possible, a significant example of each kind of manuscript is reproduced in photographs or photocopy, transcribed and translated in the Appendices to the dissertation.

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Laudiero, Angelo. "Art-based third sector organizations and urban regeneration in depressed neighbourhoods: the case of Naples, Italy." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/256289.

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The importance of the creative and cultural capital in the economic development of post-industrial inner cities has been widely demonstrated by urban development literature as it interacts with the physical environment and sustains regeneration processes. However, also in depressed and peripheral neighbourhoods, creative firms, museums, art-based nonprofit organizations, cultural associations, and independent artists can be identified as actors of substantial urban revitalization. The main purpose of this contribution is to understand the potential of third sector organizations related to the arts and culture in the emergence of virtuous patterns in urban regeneration strategies. Data and case study about not-for-profit entities engaged in revitalization projects through innovative artistic expressions in deprived areas of Naples, Italy, are analyzed. Within the general framework of urban redevelopment processes through specific not-for-profit models and tools, this research aims to understand if these actors can be identified as engines of urban regeneration and what lessons policy-makers may learn by these practices.

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McGrath, Anthony Charles Ormond. "Books in art : the meaning and significance of images of books in Italian religious painting 1250–1400." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40255/.

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This thesis uses images of books in Italian art of the duecento and trecento as pictorial evidence for the appearance of books and to establish a chronology for changes in the detail and style of book-bindings during those two centuries. The conclusions from the pictorial evidence is that there were material differences in the appearance of books in the duecento and trecento and that gold tooling was used to decorate books from about 1320, a hundred years earlier than previously thought. The thesis also considers how, and to what extent, medieval viewers related to images of books and whether it is possible to identify individual styles in the way artists represented books. There are four case-studies that are used to investigate how images of books were used, and what religious, social, political and psychological purposes were served. Part of the methodology is to identify and study those points of change when books appear or when the way they are shown changes. This is in the belief that when circumstances alter, the artist responds consciously and creatively rather than by imitation. A number of works of art are studied in detail and the thesis proposes new interpretations for, inter alia, the Stefaneschi Altarpiece, Guido de Graziano'sDossal of St Francis, theAnnunciation scene in the Arena Chapel, the RucellaiMadonna, and the S Caterina Polyptych. The case-studies have demonstrated that the image of a book was one of the most powerful visual signs, certainly for the period and region to which this study has been devoted. It shows that in the decades around 1300 the book became an established attribute in altarpieces, the book displaced the rotullus as the symbol of authority, and the book became the dominant attribute of the VirginMary in scenes of the Annunciation, displacing earlier formats. The book was the symbol of learning and therefore a key attribute for the mendicant orders and especially the Dominican Order.

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Platts, Hannah Frances Mary Landsbrough. "Art, architecture and landscape in 'villa' residences of Italy from c. 1st B.C. to c. 2nd A.D." Thesis, University of Bristol, 2006. http://hdl.handle.net/1983/5b1fc526-6934-4796-9dbb-72b0fadbf67e.

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Nixon, Kathrine Mary Gill. "A visualization of dissident voices in sixteenth-century Italy: a reflection of the religious debate in art." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1044.

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The focus of this dissertation is an exploration of the relationship between the Italian Reformation and some sixteenth-century religious paintings. It aims to discover if, when viewed chronologically, they provide a visualization of the course taken by the Italian Reformation. For sometime art historians have been aware that some religious paintings are at odds with the iconography of Catholic orthodoxy, such works are usually treated in isolation from each other. Here they are brought together and analyzed in the context of a widely disseminated religious debate in which artists were participants, if only as members of society, and not necessarily as members of a particular Protestant sect. It focuses on individual works by Fra Bartolomeo della Porta, Jacopo Pontormo, Lorenzo Lotto, Michelangelo, Jacopo Bassano, and Caravaggio. The paintings considered are interpreted in relation to the sermons of Savonarola, the Catechism and One Hundred and Ten Considerations, of Juan de Valdès, the Beneficio di Cristo, Italian evangelism, the spirituali, and radical groups such as the Anabaptists.

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Chalcraft, Jasper Morgan. "Cosmopolitan cartographies and the colonisation of the past : world heritage and rock art in Italy and Tanzania." Thesis, University of East Anglia, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426773.

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True, Thomas-Leo Richard. "Power and place : the Marchigian Cardinals of Sixtus V." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648270.

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May, Madeline Adele. "The Passion of the Plague: The Representation of Suffering and Salvation in Art and Literature." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619453120236161.

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Dissertations / Theses on the topic 'Volterra (Italy) in art'

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