The painting Seated lady writing has undergone a technical investigation where its material characteristics were unveiled using non-invasive analytical techniques employing different wavelengths of the spectrum. The panel was analyzed from a material and a visual culture perspective. The thesis aimed to answer what the panel has undergone through time, how its materiality relate to its function, and where and when it was created. In addition, the aim was to investigate the objects portrayed and their value within the artwork’s historical cultural context. The panel show diverse damages that might relate to insect activity, carving with a sharp tool in the face area, stabilization methods evident from remnants of a removed cradling and a possible dimensional reduction. Preparatory features including both free hand underdrawing for minor details, and a tracing technique used for the initial rendering of the female figure and some of the textiles were identified. A blend of meticulously rendered detailing with areas of lesser quality in terms of execution together with the use of common pigments, point to an overall aim of producing art in anefficient way. Later interventions are evident such as the turquoise overpaint on the dress covering the original authentic violet or burgundy color. Visible in X-ray, a dense element covering the bust may be interpreted as a painted thin fabric. The lack of the superficial viscous modelling layers reduce the face of its plasticity and many colors have altered and darkened. The setting and the woman’s fashion indicates an early Dutch 16th century courtly aesthetic. The objects in the rich interior alludes to religious symbolism referring to the Magdalene. The paintings attribution to the Master of the Female Half-Lengths was made in the early 20th century according to the panel’s stereotypical motif, despite the stylistic differences of the figure types. The panel differs from the other attributed panels in thesetting, where the woman seems contemplating in front of a diary, whereas the other women areportrayed writing, playing music or reading. This master has been regarded as synonymous with a workshop production, painting for the blooming 16th century art market in Flemish cities such as Antwerp. This thesis proposes that the paintings ought to be understood in the context of a genre The Female Half-Lengths, as opposed to adhering to one and the same attributed master.

My paper investigates Peter Paul Rubens’ female portraits in terms of the male and female gaze, psychoanalytic analysis, and historical context. My research will support the idea that Rubens painted women in a sexualized manner based on what Foucault coins the male gaze.[1] The paintings evaluated in this project include portraits of Rubens’ wives, Isabella Brandt and Helene Fourment, and portraits of wealthy patrons such as Marchesa Brigida Spinola Doria, Anne of Austria, and Marie de’ Medici. It is incorrect to view these paintings as pure, complete depictions of identity because women in this time were always defined and observed by men.[2]However by deconstructing the male gaze and also acknowledging the role of the active female gaze of the subjects of these works, a more complex construction of female identity is uncovered. Throughout history the feminine has been generalized to be passive and silent. My project aims to build on recent feminist scholarship that works to uncover more responsible and representative descriptions of the images of women in history. [1]Michel Foucault, “Discipline and Punish” from Literary Theory: An Anthology, ed. by Julie Rivkin and Michael Ryan, (Malden: Blackwell Publishing Ltd., 2004), 549-565. [2]Patricia Simons, “Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture,” edited by Norma Broude and Mary Garrard, The Expanding Discourse: Feminism and Art History (New York: Harper Collins, 1992): 44.

L’auteur inventorie les sources iconographiques de la plupart des quelque 250 peintures de l’église Sainte-Bethléem et de la cathédrale Saint-Sauveur de la cité arménienne de la Nouvelle-Djoulfa, dans les faubourgs d’Ispahan. Elle établit que ces sources, contrairement à la thèse qui faisait autorité depuis plus de cinquante ans, ne sont pas des xylographies du graveur Christoffel Van Sichem, mais des estampes de la Bible de Natalis, ouvrage jésuite publié pour la première fois à Anvers en 1593.<p><p>L’auteur démontre qu’il existe également une autre source, à savoir l’album Thesaurus veteris et novi Testamenti de l’éditeur anversois de confession calviniste G. de Jode, dont la première publication date de 1579 et dont les planches furent reprises, entre autres, dans l’album Theatrum Biblicum publié à Amsterdam à partir de 1639 par l’éditeur C. J. Visscher. Une comparaison avec des miniatures de l’école de la Nouvelle-Djoulfa conservés au Matenadaran et à la BNF permet de confirmer que ces deux albums sont parvenus dans la cité arménienne. Enfin, la thèse recense plusieurs estampes isolées qui ont aussi servi de modèle aux peintures murales.<p><p>Par une étude stylistique comparée mettant en évidence la transformation caractéristique de certains modèles utilisés, l’auteur établit que les peintres impliqués dans la décoration de l’église Sainte-Bethléem et de la cathédrale Saint-Sauveur sont des artistes de la cité, dont l’un au moins a une connaissance approfondie des techniques et des conventions de l’art pictural occidental. Dans le même temps, elle fait ressortir le fait que l’influence de la gravure flamande sur l’art pictural arménien se traduit à la fois par un renouvellement des formes et par une évolution de certains contenus et signale que le rayonnement de la Nouvelle-Djoulfa en prolonge les effets tant en Arménie que dans d’autres communautés de la diaspora arménienne.<p><p>Enfin, en fournissant plusieurs exemples inédits témoignant de l’influence internationale de l’art flamand de cette époque – et tout particulièrement des œuvres de Maarten De Vos – par le truchement de la gravure, l’auteur ouvre des pistes de recherche tant en Perse que dans d’autres zones géographiques. / Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

Text in Afrikaans / In hierdie verhandeling word die tekste van onderskeidelik Mireille Cottenje (Dagboek van Carla - 1968), Daisy Ver Boven (Mayana - I974 ), Henriette Claessens (Afscheid van Rumangabo - 1983) en Lieve Joris (Terug naar Kongo - 1987) bespreek as verteenwoordigend van die koloniale literatuur deur die vroulike outeur. Die doel is om vas te stel hoe daar deur die vroue outeur in die Vlaamse letterkunde aan die Afrika-ervaring gestalte gegee is. Eerstens word 'n oorsig van die begrip koloniale literatuur gegee en daama word literer-histories op die Vlaamse Afrika-literatuur vanaf die prekoloniale- tot die postkoloniale era gefokus. Nadat 'n analise van die tekste gedoen is om die individuele perspektiewe te evalueer, blyk dit dat die vroue outeurs in 'n groot mate gemeenskaplike visies in hul siening van die koloniale era openbaar. 'n Beeld van die koloniale Kongo soos dit in die ervaringswereld van die vroue outeurs bly voortleefhet, kan so verkry word / In this thesis, the texts of Mireille Cottenje (Dagboek van Carla - 1968), Daisy Ver Boven (Mayana - 1974), Henriette Claessens (Afscheid van Rumangabo - 1983) and Lieve Joris (Terug naar Kongo - 1987) were respectively studied as representative of the colonial literature written by female authors. The aim is to establish how stature is given in the literature to the Africa experience by the female author. In the first instance the concept colonial literature is discussed followed by a historical review of the Flemish African literature from the pre-colonial to the postcolonial era. After an analysis has been completed to evaluate the individual perspectives of the different authors, it appears that the female authors reveal shared perspectives in their views on the colonial era. Through knowledge of the work of these authors, an image of the colonial Congo can be found, as it lives on in the world of the female literator / Afrikaans & Theory of Literature / M.A. (Afrikaans)

Text in Afrikaans / In hierdie verhandeling word die tekste van onderskeidelik Mireille Cottenje (Dagboek van Carla - 1968), Daisy Ver Boven (Mayana - I974 ), Henriette Claessens (Afscheid van Rumangabo - 1983) en Lieve Joris (Terug naar Kongo - 1987) bespreek as verteenwoordigend van die koloniale literatuur deur die vroulike outeur. Die doel is om vas te stel hoe daar deur die vroue outeur in die Vlaamse letterkunde aan die Afrika-ervaring gestalte gegee is. Eerstens word 'n oorsig van die begrip koloniale literatuur gegee en daama word literer-histories op die Vlaamse Afrika-literatuur vanaf die prekoloniale- tot die postkoloniale era gefokus. Nadat 'n analise van die tekste gedoen is om die individuele perspektiewe te evalueer, blyk dit dat die vroue outeurs in 'n groot mate gemeenskaplike visies in hul siening van die koloniale era openbaar. 'n Beeld van die koloniale Kongo soos dit in die ervaringswereld van die vroue outeurs bly voortleefhet, kan so verkry word / In this thesis, the texts of Mireille Cottenje (Dagboek van Carla - 1968), Daisy Ver Boven (Mayana - 1974), Henriette Claessens (Afscheid van Rumangabo - 1983) and Lieve Joris (Terug naar Kongo - 1987) were respectively studied as representative of the colonial literature written by female authors. The aim is to establish how stature is given in the literature to the Africa experience by the female author. In the first instance the concept colonial literature is discussed followed by a historical review of the Flemish African literature from the pre-colonial to the postcolonial era. After an analysis has been completed to evaluate the individual perspectives of the different authors, it appears that the female authors reveal shared perspectives in their views on the colonial era. Through knowledge of the work of these authors, an image of the colonial Congo can be found, as it lives on in the world of the female literator / Afrikaans and Theory of Literature / M.A. (Afrikaans)

TITLE: THE LANGUAGE OF MUSIC: Claudio Monteverdi as an innovator in the field of dealing with text in music. SUMMARY: The main topic of this Thesis is Claudio Monteverdi's work and its importance for the development of dealing with text in music of the late Renaissance and early Baroque period. In Monteverdi's compositions we can follow the evolution of counterpoint techniques reaching from the traditional 16th century vocal polyphony to the purely monodic approach to composition that is typical of Baroque music. The text works as a creative element that affects the author's way of working, leading him from the first experiments with the musical representation of each word in the madrigal to a dramatic expression of the text in the style of opera. In his work Monteverdi uses wordpainting to an unprecedented extent. He invents new musical expression for words that contain a strong emotional charge, like subtle rhythmic figures for joyful words, or sharp dissonances for words conveying pain. He is the first composer to achieve excellence in combining flawless technical skill with the dramatic line of the composition. His work forms an imaginary bridge between music of two periods: in the first period text is perceived as a mere "servant" of music but becomes the "ruler" of it in the later one. The Thesis...

Thesis (Ph. D.)--Wilhelms-Universität in Münster, 1914. / Vita. Includes bibliographical references in "Bücherangabe" (p. [5]-6).

This study traces the genesis and development of the History of Constantine tapestries designed by Pietro da Cortona and woven on the looms established by Francesco Barberini shortly after his return from France in December 1625. The circumstances surrounding the creation of the series provide a foundation and a framework for exploring its meaning and purpose. Though inspired by an earlier Constantine suite of tapestries designed by Rubens, the "Cortona" panels should be read as an independent entity, the significance of which can only be fully appreciated within the context of the gran salone of the Palazzo Barberini, which I propose was their intended destination. This conclusion is supported by the many links between the tapestries and Barberini ideology, papal politics, the palace and the ceiling fresco in the Salone. Like the Divine Providence fresco, the "Cortona" series is a summa of the virtues and religious, political, intellectual and social initiatives of the family. The series emerges finally as a promotionally Italian endeavour, a showcase of Italian art and culture.

Rubens' material reality culminates in the tableau which he named Het Pelsken (Flemish for 'The little Fur,' known also as La Pelisse). Of his vast oeuvre it is the most frequently cited work, described by one spectator as an "oil painting of a subject quite unusual...a beautiful woman naked beneath her dark fur." 1 Among art historians the tableau has been the subject of debate as to its 'meaning,' especially since the life-size image does not include narrative paraphernalia that would allow mythological interpretations. But as one scholar wrote, "most are relieved that the work was never meant to be sold."2 / This dissertation's trajectory is different. It points to Rubens' late style tableaux, of which Het Pelsken is one, as items painted in an exquisite technique effecting (bodily) presence, and conceived as commodities destined for circulation. Thus the works are heavily invested by producer(s) and buyer(s). Painted in a sophisticated allegorical language that simultaneously defies easy (narrative) access and yet keeps viewers continuously spellbound, Het Pelsken is being reframed together with some of Rubens' other paintings to establish a dialogue with today's audience. This study analyzes the allegorical paradigm by way of Walter Benjamin's dialectics in order to locate levels of truth---which are of relevance to current viewers---and also probes the forces that generate such an overt and repeated display of the feminine body. In so doing, the study also spotlights neo-allegorists, who in their' more recent art practice reconnect with Rubens and disconnect with some compositional and technical strategies of the Baroque master's paintings. These artists include contemporaries Robert Rauschenberg, Peter Dressler and Jean-Luc Godard. / 1Leopold von Sacher-Masoch, please see Chapter One for more of his commentary. 2Julius Held's research and response is also taken up in Chapter One.

Thesis (Ph. D.)--Wilhelms-Universität in Münster, 1914. / Vita. Includes bibliographical references in "Bücherangabe" (p. [5]-6).