<p>For what secular purposes did Spanish artists absorb into Marian Immaculate Conception devotional art the attributes of the Apocalyptic Woman from the Book of Revelation? In this absorption of a traditionally active Apocalypse motif into a traditionally inactive Marian motif, were artists and patrons responding to religious, political, and cultural turmoil of multi-faith Iberian societies? I argue that a shift in Marian iconography paralleled consolidation of Castilian national identity in the late-fifteenth and early-sixteenth centuries. This consolidation manifests in the Virgen Abridera at the Convent of the Concepcion de las Madres Agustinas, dated 1520 in Toledo, Spain. This mutable sculpture, also called a Shrine Madonna, Triptych Virgin, or Vierge Ouvrante, is an example of the tota pulchra Immaculate Conception motif, the absorption of Apocalyptic Woman imagery, and the transference in narratives from the Joys of Mary to the Sorrows of Mary?all the products of contemporary Franciscan and Spanish worldviews.

A member of America's established cultural elite, John Cotton Dana (1856-1929) aimed to wrest cultural and economic authority from the nouveau riche through his role as the first director of the Newark Museum. In his favorite exhibition, "New Jersey Textiles," he encouraged local immigrant laborers to improve the design of goods that he simultaneously prompted middle-class women to purchase. He imagined that, as a result, Newark's manufacturing sector would blossom without nouveau-riche involvement; the region would soon rival its new-money neighbor, New York City. Under Dana's supervision, Jarvis Hunt (1859-1941) designed the 1926 Newark Museum building, employing the conventions of contemporary office architecture (predating a similar strategy at the Museum of Modern Art) to articulate this vision. The Metropolitan Museum of Art designed a series of exhibitions indebted to Dana's ideas. Ironically, the Metropolitan has received credit for innovations that Dana had designed to challenge New York's preeminence.

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The purpose of this study is to determine to what extent creative stitchery is used in the art program of the Dallas Independent School District, when it is found to be most valuable, and what limitations it is found to have.

<p> In mid-nineteenth-century Paris those associated with the intellectual and artistic sectors used distinction in dress as a defining characteristic in the creation of their social image and identity. With the growing bourgeois masses due to the vast expansion and modernization of the city, distinction became the way in which one could separate from the crowd to emerge as an individual. This notion grew out of two specific factions: the awareness of dress as an outward reflection of the self, and the newly developed medium of photography as a tool for capturing one&rsquo;s likeness. This thesis will trace the utilization of these concepts by examining Nadar&rsquo;s portraits of Charles Baudelaire, Th&eacute;ophile Gautier, and Sarah Bernhardt, as well as Countess de Castiglione&rsquo;s collaborative portrait work with the photographer Pierre-Louise Pierson. </p><p> Baudelaire and Gautier, both prolific poets and art critics, were some of the first to bring about critical discourse on the distinction of clothing, as well as the importance of inserting modern dress into art. Both men implemented these methods when making their individual choices for representation, with Gautier often presenting himself far outside the sartorial norm. While most women of Parisian society abided by strict moral rules of dressing, Bernhardt and Castiglione instead challenged these norms and used dress to represent themselves as individuals apart from family or a husband. More than solely focusing on everyday dress, this thesis will concentrate on the utilization of distinction in their public image captured through photography.</p>

Within the archives of the Künstlerverein Malkasten (Paintbox Artists' Union) in Düsseldorf, Germany, is a vast corpus of visual art, posters, programs, and books that illuminate the musical life of this artists' club. The materials reveal that the club not only enjoyed music as entertainment but also depended on it for inspiration in their artwork and as a means of social interaction, not only between members but also between members and the greater Rhineland community, as well. The picture of the society that emerges from these sources is intrinsically connected to music and music-making, informing an understanding of how this highly-regarded institution and brotherhood of artists communed and thrived for over one hundred years. Even prior to the Malkasten's foundation in 1848, the artists that eventually made up its membership from the Düsseldorfer Malerschule and Kunstakademie Düsseldorf had used musical iconography prominently in their works. Musical imagery appears pervasively throughout the Malkasten's artistic catalogue, regardless of subject or style. Its nearly ubiquitous presence showcases musical instruments and performers in a variety of contexts, from symbolic allegories to satirical cartoons. These works reflect that music was part of the artists' overall consciousness and demonstrate the ideological first step into creating interdisciplinary artwork, for which the club became well known. The lied was the primary genre used by the Malkasten, and many of its artists participated in either writing song texts, often specifically for club performance, or creating imagery to accompany those texts. A typology of song books in nineteenth-century Düsseldorf allows for an examination of the sources used by the Malkasten, offering a glimpse into what types of lieder the artists sang together. This visual/musical literature reached its peak in the most sophisticated lied source used by the club – the Düsseldorfer Lieder-Album (1851) – which featured newly-composed songs with accompanying full-page color lithographs designed by Malkasten artists. Musical performances were a principal activity of the Malkasten throughout the late nineteenth and early twentieth centuries, including various types of Liederabends, concerts, tableaux vivants, musico-theatrical productions, and pageants. The club hosted these performances and members actively participated in them. While many artists worked to create posters and programs for the events, others wrote librettos or dialogue. Many of the members also performed in the presentations, often as singers in solo or ensemble roles. The imagery, songs, and performances of the Malkasten provide a detailed portrait of the Malkasten and its culture. The artists' love of music, history, poetry, nature, and the Rhineland all intertwine within these sources; the artwork and the texts reflect their witty sense of humor, ardent patriotism, and sincere fondness for one another. In short, the character and activity of the Malkasten as an organization are represented fully in its musical life. / A Dissertation submitted to the College of Music in partial fulfillment of the Doctor of Philosophy. / Fall Semester 2015. / November 9, 2015. / Düsseldorf, Ethnography, Iconography, Interdisciplinary artwork, Künstler-Verein Malkasten, Lieder / Includes bibliographical references. / Douglass Seaton, Professor Directing Dissertation; Timothy Hoekman, University Representative; Charles E. Brewer, Committee Member; Denise Von Glahn, Committee Member.