Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1965. / Includes bibliographical references (leaves 82-87).

Thesis (Ph. D.)--University of California, San Diego, 2009. / Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 378-402).

Thesis (Ph. D.)--Boston University, 1983. / Vita, leaves 1133-1134. Includes bibliographical references ; leaves 672-1132 (including illustrations) not photocopied at request of author.

Thesis (M.A.)--University of Wisconsin--Madison, 1965. / Title from title screen (viewed Sept. 20, 2007). Bibliography: l. 82-87. Online version of the print original.

This study examines the artistic output in the diocese of Grosseto, which was part of Sienese controlled territories in Medieval and Renaissance times, and sheds light on the artists who worked there, the works that they produced, the purpose of these works and the way that these were shaped by local patrons, popular beliefs and long- standing traditions. It encompasses a period in the history of Siena that starts in c. 1380 with the political turmoil that followed the fall of the government of the Nine in 1355, and ends in c. 1480, around the time of Pandolfo Petrucci’s exile from the city. A contextualized overview of the activity of artists from Siena and beyond, such as Matteo di Giovanni, Sassetta, Vecchietta Francesco di Giorgio, Giovanni da Ponte and Andrea Guardi in the diocese of Grosseto is provided by means of visual examination and new documentary evidence. Relevant case studies offer a new perspective on the development of local visual imagery, the style and iconography of panel paintings, sculptures and fresco cycles and how these related to local devotional practices and patronage. The study shows that the development of independent taste in commissioning and acquiring artworks transcended geographical boundaries and political influence, and that original developments took place alongside the imitation of imported models. This research contributes to a new understanding of the relationship between Siena and Grosseto and proposes that notwithstanding Sienese influence, other cultural models were available, and that these were adapted to suit local requirements. A thorough investigation of local patronage establishes that this involved civic, religious and lay sources and that these shaped civic rituals and devotional responses to the cult of patron saints. It brings to light a vivid, yet complex image whereby all the realms of society interacted and benefitted from cultural exchange.

Thesis (Ph. D.)--Florida State University, 2002. / Advisor: Dr. Jack Freiberg, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Oct. 7, 2003). Includes bibliographical references.

Thesis (Ph.D.)--The University of Texas at Austin, 1996. / Includes bibliographical references (leaves 680-718).

Issued in part (xii, 47 p.)--as the author's inaugural dissertation, Basel. / "Literatur-abkürzungen": p. [x]-xvi.

This dissertation offers a new interpretation of Andrea del Sarto’s art and career and is rooted in the premise that collaboration played a central role in Andrea’s artistic practice. Serving as an interpretative rebalancing act, it focuses not on Andrea’s personality, individual artistic practice, or influence on later painters, but on his collaborative undertakings in the first half of his career. Each of the four chapters centers on a large, complex, and ambitious cycle of paintings. These projects, frequently exceeding the physical and technical capabilities of a single individual, were virtually impossible for an artist to produce in isolation, thus readily lending themselves to a collaborative approach. Chapter One examines Andrea’s early years working at Santissima Annunziata and focuses on the fresco cycle depicting the life of the Blessed Phillip Benizzi that Andrea carried out in tandem with Franciabigio. The two young painters, who met while studying the battle scene cartoons of Michelangelo and Leonardo da Vinci, shared a workshop in their earliest years as independent artists and worked together on their first commissions. The Philip Benizzi fresco cycle, which fills one side of the Chiostro dei Voti, the Annunziata’s forecourt, illustrates what I call “manual collaboration,” in which the two painters co-executed several of the paintings, even as each maintained his own cartoon transfer methods and stylistic tendencies. Chapter Two also concentrates on the Annunziata, but shifts its attention to the other side of the Chiostro dei Voti. It begins by looking at The Journey of the Magi, a fresco in which Andrea includes a self-portrait alongside depictions of his friends the sculptor Jacopo Sansovino and the musician and composer Francesco d’Aiolle and considers the implications of Andrea’s move to the Sapienza complex, adjacent to the Servite church. The chapter then examines the rich musical environment in which Andrea was embedded at the Annunziata. It considers how contemporary ideas of musical harmony and figural polyphony, in what I call “conceptual collaboration,” may have influenced the Marian fresco cycle, which Andrea carried out alongside Franciabigio, Jacopo Pontormo, and Rosso Fiorentino. Chapter Three turns to the Borgherini bedchamber, a private commission for an elaborate room in the palace of Pierfrancesco Borgherini decorated with painted panels illustrating the life of the Old Testament figure of Joseph, whose production was overseen by the architect Baccio d’Agnolo. In light of unpublished archival material, the chapter considers both the overall ensemble and the individual paintings executed by Andrea, Jacopo Pontormo, Francesco Granacci, and Bacchiacca in relation to Pope Leo X’s triumphal entry into Florence, on which almost all of the artists had worked in the year prior to undertaking the bedchamber. This chapter considers both how Baccio d’Agnolo, in a form of “programmatic collaboration,” oversaw the project and how the painters worked with one another as they developed and then executed their own panel paintings. Chapter Four examines the Chiostro dello Scalzo, a space to which Andrea returned throughout his career that exemplifies several of the modes of collaboration discussed in earlier chapters. Considering a form of “intermedial collaboration,” the chapter looks at the transfer and translation of designs across surfaces and media, with special attention to Andrea’s work with the sculptor Jacopo Sansovino. The chapter concludes with a consideration of the Scalzo’s afterlife and how it served as a site that invited collaborative tendencies in subsequent generations of artists. The dissertation concludes with an Epilogue that addresses Andrea’s little-studied time in France from 1518 to 1519, a period of his career that cries out for further evaluation. This trip marks the moment when Andrea shifted from collaborating with his peers to directing his own large workshop, one that thrived during the 1520s and became the training ground for a future generation of painters. Taken together, these chapters illuminate several manifestations of collaboration in Andrea’s career, helping to reframe our understanding of artistic authorship in the sixteenth century.