Thesis (M.A.)--University of Wisconsin--Madison, 1971. / Title from title screen (viewed May 13, 2009). Includes bibliographical references. Online version of print original.

Thesis (M.A.)--University of Wisconsin--Madison, 1971. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaug.-Diss. (doctoral)--Universität zu Köln, 1992. / "Veröffentlichungen der Bibliotheca Hertziana (Max-Planck-Institut) in Rom"--T.p. verso. Includes bibliographical references (p. 283-315) and index.

Diss.--Bern. / Includes bibliographical references.

Diss.--Bern. / Includes bibliographical references.

Diss.--Fakultät für Kulturwissenschaften--Tübingen--Eberhardt-Karls Universität, 1990.

Thesis (Ph. D.)--University of Chicago, Department of Art History, June 2003. / Includes bibliographical references. Also available of the Internet.

Several early Italian Renaissance sacred images underwent significant restorations shortly after their completion, despite the fact that the paintings had suffered no apparent damage. Paintings that were completed in the mid-to-late 1200s were restored only 30-40 years later. This dissertation explores the motivation behind the premature restorations of these intact and newly-created sacred images. As religious artworks, these objects were expected to move their viewers spiritually and to work as devotional intermediaries between the viewer and the sacred figures represented in the image. Some scholars contend that these paintings were prematurely restored in an effort to align the images with contemporary conceptions of style. Based on a scholarly analysis of historical and analytical literature, and close examination of the objects, this dissertation asserts a more compelling and nuanced motive for the restoration of these sacred images: these restorations were prompted by a desire to increase their spiritual efficacy by forging an empathic connection with viewers. The selective restorations primarily focused on repainting the faces and hands of important figures, with little or no repainting devoted to drapery, background or supporting figures. Repainting figures’ faces and hands enabled viewers to connect emotionally with these painted intermediaries and to create a greater empathic bond. I examine the motivation for artists to restore images prematurely and selectively within several contextual frameworks: the impact of viewers’ empathic connection with images is rooted in art historical and rhetorical theory and supported by current brain research; the appeal of early Italian Renaissance vernacular culture created a receptive environment for empathic connections to literature, poetry, devotional music and imagery; and early art historical writings on empathy. Chapter One examines the history of early Italian Renaissance restoration practices. Chapter Two explores how the art of Duccio di Buoninsegna and Giotto di Bondone motivated the selective repainting of devotional images. Chapters Three and Four present case studies of early Italian Renaissance sacred images that were prematurely repainted and reframed. Specific works examined include Coppo di Marcovaldo’s Madonna del Bordone, 1261, Guido da Siena’s Maestà, ca. 1270, and Taddeo Gaddi’s Madonna and Child with Four Saints, ca. 1340-45.

From Introduction: The ideal of femininity which developed in Renaissance painting, was a visual and psychological type which was to become the Western European Christian formula of the feminine. This type has survived until the present day, so a discussion of its origins can be revealing for us in the twentieth century, especially as it has been neglected in traditional art historical works. In this essay, the changes in the image of the feminine, in just under three hundred years of Florentine painting, starting with Giotto1. and ending with Raphael~· will be covered. The images will be taken from the wo rk of artists who were Florentine in training, who worked in the city or who were strongly influenced by the Florentine style of painting. I have divided the paintings I have studied into three sections. In the Religious section the paintings are mainly of Mary. The Mythological images refer to Greek and Roman myths and the humanistic interpretations of them. Finally, the Portrait and Genre images are selected on the following basis: In the genre paintings they are sometimes part of works related to religion or mythology, but, in their handling, the painters treat the figures as real human beings rather than holy or mythological figures. In others they are bona fide portrait representations. 3. I have made the above distinction because I expect that the gap between religio-mythological images and portraits will give some indication of the difference between the ideal and the reality for women of that time. The images will be analysed and changes noted in favoured types, gestures, expressions, movements, placing in the composition, relationships to others, favoured themes, costume, colour and symbols. I will point out as I proceed the effects that these elements had on the mood and tone of each image.

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Vers 1296, la jeune communauté des Franciscains engage un artiste pour peindre un cycle commémoratif de la vie de saint François, leur saint patron, dans leur monument religieux d'Assise, érigé à partir de 1228. L'attribution giottesque de cette peinture de vingt-huit fresques est l'objet d'une polémique d'attribution depuis la fin du 18e siècle. L'objectif de notre ménoire est d'analyser les méthodes d'attribution utilisées dans ce débat. Les partisans giottesques considèrent que l'interprétation des documents d'archives et les commentaires des contemporains constituent une preuve suffisante d'attribution à Giotto, ce à quoi s'opposent leurs détracteurs. D'autres auteurs ont appliqué diverses méthodes d'analyse stylistique à l'ensemble de ces fresques et à un corpus qui lui est rattaché et émettent des hypothèses d'attribution contradictoires. Enfin, la technologie des restaurateurs et la découverte récente de la fresque d'un contemporain de Giotto introduisent des arguments qui remettent en question les hypothèses d'attribution traditionnelles. Nous explorerons tour à tour les trois domaines d'attribution concernés par cette polémique. Nous verrons comment a fonctionné l'attribution fondée sur les documents d'archives. Nous jetterons un regard sur les méthodes d'analyses stylistiques et sur les auteurs qui ont marqué cette question d'attribution. Puis, nous discuterons des nouvelles méthodes d'attribution où un restaurateur justifie son hypothèse d'attribution à partir d'éléments de la production de l'objet d'art. / Around 1296, the young Franciscan Brotherhood hired an artist to paint a commemorative cycle of the life of St. Francis, their saint Patron, for their religious monument of Assisi, erected in 1228. The attribution to Giotto of this cycle of twenty-eight frescoes has been the object of a debate since the eighteenth-century. This thesis presents the methods used to discuss this attribution. The partisans of Giotto feel that the interpretation of archives and the commentaries by the contemporaries of the painter Giotto are sufficient to justify this attribution, which their opponents however contest. Other critics have applied various methods of analysis to the stylistic aspect of the frescoes and to a corpus attached to it and have come up with contradictory attributions. Finally, the advanced restoration technology and the recent discovery of a fresco attributed to a contemporary of Giotto have challenged even further the traditional attribution hypothesis. We will look at each area of attribution discussed in this debate. We will consider the method of the attribution based on documents. We will also reflect on the stylistic methods of attribution and on the authors who made distinctive remarks on our subject. In the end, we will study the new methods of attribution used by the restorers as they attempt to come up with an attribution based on material data drawn from the genetic study of the art object.