• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 4
  • Tagged with
  • 5
  • 5
  • 5
  • 3
  • 3
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 1
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Sandro Botticelli’s The Return of Judith to Bethulia and The Discovery of the Body of Holofernes and the Experiences of Quattrocento Florence

Biagini, Julia 2011 (has links)
No description available.
2

"By the Hand of a Woman": Gender, Luxury, and International Relations in Andrea Mantegna's Judith and Holofernes

Nelson, Caroline 1 January 2016 (has links)
This thesis examines Andrea Mantegna's painting of Judith and Holofernes in the context of attitudes towards women, material culture, and the Middle East during the Italian Renaissance.
3

CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE: THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ART

BURZLAFF, MARY CAROLINE 11 July 2006 (has links)
No description available.
4

Woman on top: interpreting Barthel Beham’s Judith Seated on the Body of Holofernes

Grimmett, Kendra Jo 2014 (has links)
At no point in the apocryphal text does Judith, a wise and beautiful Jewish widow, sit on Holofernes, the Assyrian general laying siege to her city. Yet, in 1525, Barthel Beham, a young artist from Nuremberg, created Judith Seated on the Body of Holofernes, an engraving in which a voluptuous nude Judith sits atop Holofernes’s nude torso. Neither the textual nor the visual traditions explain Beham’s choice to perch the chaste woman on top of her slain enemy, so what sources inspired the printmaker? What is the meaning of Judith’s provocative position? The tiny printed image depicts the relationship between a male figure and a female figure. Thus, in order to appreciate the complexity of that relationship, I begin this thesis by reviewing what it meant to be a man and what it meant to be a woman in early sixteenth-century Germany. Because gender roles and the dynamics between the sexes were so complex, I encourage scholars to reevaluate Weibermacht (Power of Women) imagery. The nudity of Beham’s Judith and her intimate proximity to Holofernes suggest that Judith Seated on the Body of Holofernes is a Weibermacht print. In fact, Judith’s pose specifically echoes that of Phyllis riding Aristotle, a popular Weibermacht narrative. The combined eroticism of Judith’s exposed body and her compromising position would have appealed broadly to male viewers, but Beham likely targeted an erudite audience of well-educated, affluent men when he designed the multivalent print. Through close visual analysis and careful consideration of which prints circulated in early sixteenth-century Nuremberg, I argue that Beham’s Judith resembles witches riding backwards on goats, crouching Venuses, and a woman in the “reverse-cowgirl” sex position. Admittedly, it is impossible to know which sources Beham studied in preparation for Judith Seated on the Body of Holofernes, but I am inclined to believe that he wanted each of those jocular references to enrich the meaning of his work, providing a witty commentary on the power of women. But regardless of the artist’s intentionality, I think visually literate viewers would have recognized and enjoyed decoding the layers of meaning in Beham’s odd engraving. text
5

The Piazza della Signoria: The Visualization of Political Discourse through Sculpture

Deibel, Danielle Marie 4 May 2017 (has links)
No description available.

Page generated in 0.04 seconds