In the mid-thirteenth century, the English monk, author, and artist Matthew Paris produced a rich collection of illustrated manuscripts. Although he is best known for his historical chronicles, Matthew also wrote and illustrated several saints' lives, including those of Saint Alban, Edward the Confessor, and Thomas Becket. The existing copies of these works reveal that Matthew frequently infused his saints' lives with additional historical material, blurring the lines between history and hagiography. This thesis focuses on the Life of Edward the Confessor (Cambridge, University Library, MS Ee.3.59) and explores the way in which Matthew visually represents the lengthy historical sequences that he has added to the more traditional account of the saint. I argue that these additions have a significant impact on the narrative and that they suggest that Matthew had an unusual understanding of how history and hagiography relate to one another. I begin with an exploration of the differing approaches that Matthew took in the illustration of his saints' lives as opposed to his chronicles and demonstrate that Matthew decorated both types of manuscripts with innovative images that were tailored to suit their accompanying texts. I then investigate the nature of Matthew's alterations to his Life of Edward the Confessor and argue that these historical additions provide a contextual frame for the hagiographic narrative by placing Edward's saintly life within the broader context of English history. Furthermore, I suggest that Matthew carefully designed the illustrations of this historical material in order to present his intended reader, Queen Eleanor of Provence, with a very special manuscript that suited her age, lineage, and status as an influential woman. I argue that Matthew's historical additions created a narrative that was not only spiritually affective, but also entertaining, educational, and representative of contemporary changes in the notion of both history and sainthood. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts. / Spring Semester, 2009. / April 10, 2009. / Illustrated Saints' Lives, English Saints, Word and Image, Reception, Historical Manuscript Illustration, La Estoire de Seint Aedward le Rei, Chronica Majora, Narrative Structure, Medieval Manuscript Illustration, English History, St. Albans Abbey, English Manuscript Illustration, Thirteenth-Century England / Includes bibliographical references. / Richard Emmerson, Professor Directing Thesis; Paula Gerson, Committee Member; Stephanie Leitch, Committee Member.

This dissertation examines the intersecting space between word and image that characterizes the photographic essay as a distinct medium. To illustrate the power negotiations that occur in the interstices of word and image, this dissertation applies art critic Elizabeth McCausland's 1943 theory of the genre to four Depression-era photographic essays concerned with African-American life: Eudora Welty's "Black Saturday," Julia Peterkin and Doris Ulmann's Roll, Jordan, Roll (1933); Erskine Caldwell and Margaret Bourke-White's You Have Seen Their Faces (1937); and Richard Wright and Edwin Rosskam's 12 Million Black Voices (1941). By examining these photo-texts created and published during the interwar years, I hope to parse the medium-specificity of both the genre's constitutive parts (the photograph and the text) while also respecting the hybrid form (one marked by struggle rather than equality) that their combination creates. Investigation of these photographic essays within this theoretical framework and in the context of 1930s publishing practices illustrates the power of the photographic essay to construct racial identities and broadens the critical understanding of the compelling yet confusing genre that is the photographic essay. / A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester, 2010. / April 26, 2010. / Word and Image, Eudora Welty, Documentary Photography, Photographic Essay, Great Depression, Richard Wright, Edwin Rosskam, Erskine Caldwell, Julia Peterkin, Doris Ulmann, Margaret Bourke-White / Includes bibliographical references. / Robert Neuman, Professor Directing Dissertation; Diane Roberts, University Representative; Lauren Weingarden, Committee Member; Adam Jolles, Committee Member.

This thesis examines the stained glass windows in the ambulatory of Trinity Chapel at Canterbury Cathedral, known as the Miracle Windows, and presents the argument that they function as a type of visual miracle collection, one that parallels the textual accounts of the miracles posthumously performed by St. Thomas Becket. Case studies of these visualized miracle stories will show that the narrative structure deemphasizes the figure of the saint, relying instead on the individual who is the recipient of cure. This new narratological approach differentiates the visual miracle collection from the textual Miracula, effectively eliminating the notion that the stained glass served as an illustration to the text and, instead, suggesting that it served as an additional "text." The narrative structure also distinguishes the Becket series from the other stained glass adorning Canterbury, both biblical and hagiographical. Finally, because the narratives in the Miracle Windows privilege the individual, I suggest that these windows should be considered in the context of the cultural development termed the "Discovery of the Self," and will relate the imagery to twelfth- and thirteenth-century texts associated with this genre. / A Thesis Submitted to the Department of Art History in Partial Fulfillment of the Requirements for the Degree of Master of Arts. / Fall Semester, 2007. / July 11, 2007. / Canterbury Cathedral, Stained Glass, St. Thomas Becket, Miracle Windows, Trinity Chapel, Medieval / Includes bibliographical references. / Paula Gerson, Professor Directing Thesis; Robert Neuman, Committee Member; Richard Emmerson, Committee Member.

When French avant-garde artist Orlan elected to surgically alter her face during a series of performances in the 1990s, she provoked extreme reactions both within art criticism and the popular press. Rather than focus on the artist's mental health or intentions, I hope to connect her corpus of performances since the 1960s to taboos imposed upon the body. By blurring the boundaries between sexualized and sacred bodies and evoking the horror of death through self-mutilation, Orlan defiantly breaks these taboos. My thesis relates Orlan's deconstruction of religious, art-historical, and social constructs to Georges Bataille's writings on taboo and transgression. My connection between his vast body of literature and Orlan's performances centers on his formulations of eroticism and sacrifice, and his description of transgression as the blurring of binary forces. I argue that Bataille's writings that describe transgression as a gateway to inner experience resonate with Orlan's outrageous performances. / A Thesis Submitted to the Department of Art History in Partial Fulfillment of the Requirements for the Degree of Masters of Art. / Fall Semester, 2007. / October 22, 2007. / Performance Art, Transgression, Taboo, Georges Bataille, Orlan, Contemporary Art / Includes bibliographical references. / Adam Jolles, Professor Directing Thesis; Roald Nasgaard, Committee Member; Tatiana Flores, Committee Member.

In this thesis I explore the concept of materiality in Gustave Moreau's oeuvre. For Moreau, this was an important concept, which influenced his art in a variety of different ways. Looking at three interpretations of the concept, I show how Moreau reconsidered this concept in many practical and theoretical ways throughout his career. I look at Moreau's repeated depictions of the same subjects, showing how he saw the subject as a suggestion with many possible material interpretations. In addition to considering Moreau's widely-varied conceptions of the subject of Salome, I also show how the writers who described his paintings saw the works themselves as similarly suggestive, elaborating on what they saw in the paintings. Next, I look at how Moreau responded to contemporary theories of degeneration, showing women and animals as physical and sexual threats to man's transcendence. I consider three themes he explored in this process: flesh-eating animals, combined human and animal body parts, and bestiality. Finally, I look at Moreau's focus on the physical surfaces of his paintings. Moreau struggled with the problem of how to depict immaterial ideas using the material medium of paint, and as a result, he used four different techniques to emphasize the surface of his canvases. I consider his use of smooth, realistic surfaces combined with elaborate details, as well as his technique of layering designs over his canvases. I also look at his use of a stained-glass-inspired technique, and his looser, more expressionistic sketches. / A Thesis Submitted to the Department of Art History in Partial Fulfillment of the Requirements for the Degree of Masters of Arts. / Spring Semester, 2009. / March 30, 2009. / Moreau, Gustave Moreau, Materiality, Material, Spirit, Matter, Degeneration, Symbolism, Symbolist, Salome, Bestiality / Includes bibliographical references. / Lauren Weingarden, Professor Directing Thesis; Richard Emmerson, Committee Member; Adam Jolles, Committee Member.

In this paper, I suggest that the Byzantine Patriarch Photios (r. 858-867, 877-886) used the composition of the apse mosaic of the Theotokos and Christ-Child and its relationship to the light within Hagia Sophia to his political advantage. I propose that on Holy Saturday, 867, Photios attempted to counteract political threats through his Homily 17, which dedicated the apse mosaic, the first figural image installed in Hagia Sophia after the end of Iconoclasm. In Byzantine liturgy, the emperor played a ceremonial role as the embodiment of Christ, an idea that was widely propagated, for example, by images of Christ on imperial coins. I argue that Photios emphasized his own ceremonial role as a "God Bearer" and appropriated the image of the Theotokos as his own opposing political symbol. With the dedication of the Theotokos image, Photios garnered the visual language needed to oppose imperial authority and created an opportunity to assert his Iconophile polemic. Homily 17 is a result of the continuation of the Iconoclast controversy that persisted since the so-called Truimph of Orthodoxy in 843. Through Photios's dedication of the apse image and its relationship to Hagia Sophia's liturgy, the apse mosaic became a performative image. The activation of the apse mosaic as a performative image is due in part to the effect of light caused by the reflection of the sun off of the gold and glass tesserae. Rico Franses discusses how this light effect creates visual layers of bright golden reflections and dark areas of matte glass in the mosaic's composition. He suggests that these layers convey Orthodox theology to the church's congregation. He explains that the changing light in Hagia Sophia, as the sun rises and lowers, and the effect of the reflected light on the gold tessarae illuminate either the Theotokos or the Christ Child. I propose that Photios took advantage of Hagia Sophia's unique light effect in order to emphasize the Theotokos and his own ceremonial role as a "God Bearer" over the Christ-Child in the political rhetoric of Homily 17 and the liturgy of Hagia Sophia. / A Thesis Submitted to the Department of Art History in Partial Fulfillment of the Requirements for the Degree of Master of Arts. / Spring Semester, 2011. / March 29, 2011. / Photios Hagia Sophia ekphrasis Byzantine Byzantium patriarch, Orthodoxy Michael III, Emperor, liturgy, light, Seals, Theotokos, Mother of God, Eucharist, Politics, Performance, Spectacle, Rhetoric, Homily, Sermon, Apse, Mosaic, Tesserae, Christ Child / Includes bibliographical references. / Lynn Jones, Professor Directing Thesis; Paula Gerson, Committee Member; Karen Bearor, Committee Member.

The reliquary chapel of Saint John the Baptist in Siena Cathedral, built between 1482 and 1504, provides valuable insight into an important cultural and historical moment in late fifteenth century Italy. This dissertation explicates the meaning of the chapel and its multi-media decoration on three levels: the viewpoint of the patron, Alberto Aringhieri; the significance for the city of Siena; and in response to the knightly Order of Saint John of Jerusalem. For Aringhieri, the chapel continued a tradition of commemoration on the part of his family. The portraits painted by Pinturicchio depict Aringhieri and his son Luzio underscore the dynastic content of the monument while stressing the membership of these figures among the noble ranks of the Knights of Rhodes. The chapel's civic significance is revealed by reference to the ancient Roman and early Christian heritage of Siena. The all' antica façade is related to the codification of the Siena's Roman past by local humanists, and the presence of Saint Ansanus, baptizer of the Sienese, in the interior makes clear the city's venerable place in the history of Christianity. Another level of civic meaning in terms of Siena's politically-turbulent relationship with Florence is suggested by the importance of Donatello's bronze statue of the Baptist, which could have been read both as a confirmation of Sienese supremacy over their traditional rivals and as supportive of the Florentine government. Alberto and Luzio Aringhieri's membership in the Order of Saint John (Knights Hospitaller of Rhodes) is directly relevant to the decoration and function of the chapel. The Knights' devotion to John the Baptist and their interest in relics of this saint are vital for understanding the chapel's meaning for its patron and other local members of the Order. The traditional role of the Hospitallers as protectors of sacred relics and is continued by the painted Aringhieri Knights that flank the chapel entrance on the interior. The enduring importance of the chapel was underscored in the mid-seventeenth century by Pope Alexander VII who used the monument, which he refurbished, as a model for his new Cappella del Voto located in a pendant position across the transept. The pope's interests in the chapel reflect the same familial, civic, and knightly issues important for the original patron, Alberto Aringhieri. / A Dissertation Submitted to the Department of Art History in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. / Fall Semester, 2002. / November 1, 2002. / Siena, Alberto aringhieri, Art history / Includes bibliographical references. / Jack Freiberg, Professor Directing Dissertation; Mark Pietralunga, Outside Committee Member; Nancy de Grummond, Committee Member; Robert Neuman, Committee Member.

This thesis examines the work of contemporary Mexican artist Carlos Amorales dealing with the theme of lucha libre, professional Mexican wrestling. It assess the critical literature on the subject and offers new avenues of interpretation. Specifically, I relate Amorales' lucha libre works to critical theories on the spectacle, performance art, wrestling, and the semantic framework E-Prime as a means of clarifying misinterpretations in the surrounding discourse on the artist. In this vein, I pay close attention to the sport of lucha libre itself as a historical and cultural entity in Mexico and propose a method for broadening the artist's interpretive audience. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts. / Spring Semester, 2006. / March 24, 2006. / E-Prime, Lucha Libre, Carlos Amorales, Contemporary Mexican Art / Includes bibliographical references. / Tatiana Flores, Professor Directing Thesis; Adam Jolles, Committee Member; Robinson Herrera, Committee Member.

The medieval Roman icon, known as the Madonna della Clemenza (Santa Maria in Trastevere), is unusual for both its large size and its inclusion of a papal portrait. Debate over the age and patron of the icon has centered on the interpretation of two documents thought to refer to the image. In this thesis, the relevance and accuracy of these documents as a means of dating the icon is questioned, in part following the criticisms of Carlo Bertelli. Stylistic arguments put forth by Bertelli and others are also questioned in favor of the importance of iconographic evidence. In the first chapter, Pope John VII (707-707) is supported as the most logical patron of the icon based upon iconographic details. The most significant point concerns the similarity of Mary's costume to other known commissions by John VII. The iconographic similarity the icon shares with other works is also explored in terms of the icon's meaning. In a break with past scholarship, this thesis argues that the Madonna della Clemenza was commissioned for a papal palace. This idea is supported by a comparison with known palace decoration in Constantinople and Rome that share iconographic similarities with the icon. Finally, the possible meaning of the icon is discussed. Through a close examination of past scholars' interpretations of a political motive for the icon's creation, this paper suggests an alternative theory based upon the function of the icon to stimulate devotion. By connecting the icon's creation to devotional practices in Rome during John's lifetime, it is argued that the icon conflates Byzantine and Roman practices and is an early example of a new, devotional art. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Art. / Spring Semester, 2005. / October 28, 2004. / Pope John VII, Byzantine, Papal Portrait, Queen Mary, Loros, Santa Maria Antiqua, Maria Regina, Devotion, Roman Icons / Includes bibliographical references. / Cynthia Hahn, Professor Directing Thesis; Paula Gerson, Committee Member; Jack Freiberg, Committee Member.

Frank Gehry introduced a new era in architecture with the Guggenheim Museum in Bilbao, Spain. The expressive quality of the building signaled to both architects and critics alike that an important change had occurred; yet, the most important issues were not discerned through an examination of its style alone. Noteworthy are the Guggenheim's design and building processes which mark a paradigm shift in architectural historiography and pedagogy. The museum comprises three significant over-arching ideas which Gehry repeats in subsequent constructions: an unprecedented use of e-technology to design and build, an extensive and innovative use of architectural language, including Jacques Derrida's "deconstruction," and a sensitive awareness of cultural memory and history. Furthermore, the design and construction of the Guggenheim Museum have created a ripple effect throughout the architectural world, altering pedagogical models and introducing new styles. Using e-technology to design and construct the Guggenheim Museum, Gehry effectively mirrored society's transformation from industrial to post-industrial. Therefore, this museum serves as the earliest model of society's change to a ubiquitous incorporation of e-technology, while representing a historical architectural shift from industrial construction to technological construction. As a result of the immense transpositions and transformations Gehry created in architecture, a new discourse has been opened among architects and critics alike. Now termed "The Bilbao Effect," this new dialogue challenges ideas of architecture as economic tool used for urban revitalization. Furthermore, "The Bilbao Effect" incorporates issues of signature designs and a new "mechanization" of architectural design. This dissertation briefly outlines the beginning dialogue of "the Bilbao effect." Furthermore, I demonstrate that the Guggenheim Bilbao is a new style—Techno-Morphism—a term I have coined. Since the museum is both formed and informed by e-technology, technomorphism is also a process. This process is due to Gehry's employment of CATIA, a multi-faceted aeronautic software which includes CAD (Computer Aided Drafting), CAM (Computer Aided Manufacturing), and CAE (Computer Aided Engineering) capabilities. This highly sophisticated software streamlined the processes Gehry needed to produce more "artistic" buildings, while being cost effective. I have also demonstrated that Gehry's use of CATIA for design and construction finalized the mechanized industrial age, prevalent in the mid-nineteenth and twentieth centuries. / A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester, 2004. / April 23, 2004. / Frank Gehry, Contemporary Architecture / Includes bibliographical references. / Lauren Weingarden, Professor Directing Dissertation; William Cloonan, Outside Committee Member; Cynthia Hahn, Committee Member; Robert Neuman, Committee Member.