Uppsatsens syfte är att undersöka Miles Aldridges fotografi Immaculée#5 som gestaltar en Jungfru Maria som innehar ett uttryck av extas. Med hjälp av Panofskys ikonografiska metod och feministisk och psykoanalytisk teori analyseras verket för att utforska hur det religiösa verket kan tolkas i en samtida kontext. Slutsatsen innehåller en konklusion om att en förhistorisk kontext om Jungfru Maria och genomförda kritiska analyser visar att Immaculée#5 kan representera ett visuellt kvinnoförtryck baserat på bland annat sexuell voyeurism. / The purpose of the essay is to examine Miles Aldridge's photograph Immaculée#5, which depicts a Virgin Mary holding an expression of ecstasy. Using Panofsky's iconographic method and feminist and psychoanalytic theory, the work is analyzed to explore how the religious work can be interpreted in a contemporary context. The conclusion is that a prehistoric context about the Virgin Mary and critical analyses show that Immaculée#5 can represent a visual oppression of women based on sexual voyeurism, among other things.

The goal undertaken in this Bachelor´s thesis was to establish, and possibly audit, the assumed motif, provenance, dating and formal style regarding two Medieval wooden sculptures depicting Saint Martin of Tours and Saint George. Both are preserved in the art collection formerly owned by one of the great Swedish artists and art collectors of the nineteenth century: Anders Zorn (1860-1920). The purpose of the study was to account for the two sculptures using the Iconographic analysis developed by Erwin Panofsky (1892-1968), and the style critical method founded by Giovanni Morelli (1816-1891). The goal was furthermore to incorporate the sculptures into a broader art historical context and discuss in what way history has impacted the usage of and attitude towards the Medieval wooden sculptures i Sweden. The result of the study concluded that the majority of what had earlier been assumed about the sculptures in regards to their respective motif, geographical orgin, style and age had been correct. Some new contributions were however made concerning similar representations, local contextualizations and the mere act of researching an object to which no major research had yet been devoted. The study also concluded that the ever changing usage of and attitude towards the Middle Ages from the Reformation during the sixteenth and seventeenth century until the beginning of the twentieth century, has likewise affected the usage of and attitude towards the medieval wooden sculptures. The consequences for the sculptures were never unequivocally positive or negative.

Les empires néo-assyrien et perse achéménide qui ont conquis le Proche-Orient au 1er millénaire av. J.-C., ont eu un besoin constant en équidés. Ces animaux sont non seulement utilisés dans les cadres militaires et cynégétiques, mais ils apparaissent également lors des défilés. Objets de prestige et convoitise, ils représentent une part importante des tributs livrés aux rois conquérants. Victorieux, les souverains ont orné les murs de leurs palais de bas-reliefs narrant leurs hauts faits. Les équidés, tant domestiques que sauvages, y occupent une place centrale. Ce travail doctoral propose une étude iconographique centrée sur la figure de l’équidé afin de procéder à un déplacement analytique qui permet d’appréhender les images impériales sous un autre angle. Ainsi, après avoir enregistré et décrit formellement les équidés, nous avons procédé à diverses analyses précises des détails de leur figuration. Les résultats attestent notamment du caractère réaliste et naturaliste des représentations, qui permet de renforcer l’adhésion des observateurs. Ces figurations prennent part au discours politique et idéologique véhiculé par les reliefs car elles développent un langage visuel spécifique qui montre une armée disciplinée, invincible et victorieuse, à l’image du monarque qui la mène. Enfin, les équidés apparaissent dans les scènes de défilés, leur pas assuré et digne ajoute encore à la gloire de celui vers lequel ils se dirigent : le souverain. / Neo-Assyrian and Achaemenid empires that conquered the major part of the Near East in the 1st millennium B.C., had a constant need for equids. These animals are indeed not only used in military and hunting actions but they also appear during parades. Prestigious objects, they represent an important part of the tributes delivered to the conquering kings. Victorious, the rulers adorned the walls of their palaces with reliefs recounting their deeds. Equids, both domestic and wild, appear to be central in these images. This doctoral thesis proposes an iconographic study centred on the equids figure in order to carry out an analytical displacement that allows imperial images to be viewed from another angle. Therefore, after having recorded and formally described the equids, we proceeded to several precise analyses of the details of their figuration. The results attest in particular to the realistic and naturalistic aspect of their representations, which makes it possible to enhance the support of the observers. These images take part in the political and ideological discourse conveyed by the reliefs because they develop a specific visual language that shows a disciplined, invincible and victorious army, just like the monarch who leads it. Finally, the equids appear in the parades scenes, their confident and dignified steps add once more to the glory of the one they are heading for: the king himself.

In my dissertation, I inquire into the phenomenon of monastic architecture and its plastic decoration in 16th century New Spain. The aim of this work is to present Mexican monasteries and their artistic significance. In my analysis, I build on the interpretation of monastic architecture from the perspective of early colonial society, I also reflect on the individual level, assessing its impact on the conquest and colonization of America. The methodology of this research project combines analysis of historical (e.g. study of historical sources) and art historical processes (iconological analysis of E. Panofsky) with analysis of anthropological concepts (e.g. rituals of transition of A. van Gennep, thick description of Cl. Geertz, concepts of liminality, structure and communitas of V. Turner). During my PhD studies, I conducted a field trip in Central Mexico (2013), supported by a grant from the Government of Mexico. I visited and documented one hundred and sixteen monasteries and the photographic documentation is the main empirical source of my analysis which further draws from the study of historical sources and academic literature. My research primarily focuses on three aspects: 1. the monastic architecture and art; 2. the role of the monastery in the process of European conquest and colonization...

The National Gallery in Prague conserves an important masterpiece of the Fle- mish mannerist Jan Gossaert. The panel painting Saint Luke painting the Virgin was originally determined for the cathedral of Saint Roumboult in Mechelen in Belgium. The artwork represents one of the first applications of Renaissance style behind the Alps. Gossaert was educated in this new style during a visit to Italy several years earlier and combined it with traditional Flemish art. The artist worked for the court of Margaret of Austria in Mechelen around the year 1513, the year the painting originates. His traditional style became influenced by the techniques used in Mechelen by foreign artists. The theme is painted the tradi- tional manner of work on an oak panel. Renaissance and Gothic architecture is decorated by " en grisaille" sculptures. A seemingly simple theme is given deeper meaning thanks to these objects containing hidden meanings. There are also some prints from the time the panel was in the Saint Vitus Cathedral in Prague due to which we can contemplate the progress in presentation of the painting during centuries. 1

This diploma thesis deals with the life and work of the Dutch painter Geertgen tot Sint Janse in the context of the beginning of Dutch Renaissance. This diploma thesis contains an analyses of Triptych with The Adoration of the Kings from the Prague Castle Collections. In particular, the art influences and the possible inspiration by the work of Albert van Ouwater is discussed. The Adoration of the Kings is an important piece of art not only in the context of Dutch Renaissance painting but also in the context of European Renaissance at the end of 15th century. The rich symbolic apparatus of the tryptich refers to the medieval tradition, but the beginning of illusionism can be recognised from the painting as well.

This Master Thesis "The animals in the cathedral. Architectural sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography" looks into the architectural sculpture of animal's motifs and motifs of fantastical Creatures. The goal of this work is to summarize recent aspects of research about this theme, explain in more detail individually motifs of animal's and their Iconography and their meaning for Cathedral of St. Vitus. Also this thesis want to explain how could this special animal's motifs fit into the places, where are they have been situated. Their Iconography is taken with larger perspective, by literature's reception from antique over czech medieval age. Concerning animals and fantastic Creatures in the southern vestibule - pelican and phoenix; an owl in the Crown Chamber; gryphon and fight between cat and dog in the inner triforium; an eagle, an unicorn, a horse with bird's legs, a phoenix, a pelican, a stag, a lion, a gryphon, a lioness, a bear, a "cat" and three chimera in the outer triforium; a lion, a dog, a dragon and an eagle in buttresses and at least a dragon and a goat on the Big Tower. Keywords Cathedral st. Vitus, animal's motifs, symbols, iconography, architektonical sculpture, sculptures, console, relief, gothic...

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The subject of this master’s thesis is depictions of Old Norse mythology and related motifs in the visual arts during the period 1775–1855. The main question of this research is how the motifs were visualized and how the depictions are related to the classical tradition. Three artworks are objects of detailed study: Johann Heinrich Füssli’s painting Thor Battering the Midgaard serpent (1790), Christoffer Wilhelm Eckersberg’s The death of Balder (1817) and Nils Jacob Blommér’s painting Näcken and the daughters of Ägir (1850). The paintings are compared with literary sources and analyzed in relation to classicism as well as ideas about history and the Old Norse. It is argued that symbols, themes and compositions from the classical tradition, such as the heroic nude, were used by artists to visualize motifs from Old Norse mythology. It is also argued that the depictions, which by previous scholars have been considered primarily classical, are in fact characterized by a resistance against likeness with the Olympic gods and antique costume.

[pt] A presente pesquisa é uma abordagem dos aspectos históricos e teológicos da compreensão atual dos dogmas marianos, por meio de algumas representações de Maria presentes na iconografia cristã. Trata-se de um diálogo entre a arte e o pensamento dogmático mariano. Aborda sistematicamente temas sobre o desenvolvimento da mariologia, mais especificamente dos seus dogmas no decorrer dos séculos, correlacionando-os pedagógica e reflexivamente à luz da iconografia cristã. Os dogmas são essenciais na compreensão acerca da pessoa de Maria. Pela iconografia, Teologia em cores, é possível apresentar temas centrais do pensamento dogmático mariano. Este trabalho também busca mostrar a vivência dos dogmas de Maria por meio da piedade popular latino-americana e brasileira, observando a possibilidade do conhecimento que há na interação entre Teologia e Arte. / [en] This research is an approach to the historical and theological aspects of the current understanding of the Marian dogmas, through some representations of Mary present in Christian iconography. It is a dialogue between art and marian dogmatic thinking. Systematically addresses themes about the development of mariology, more specifically of the Marian dogmas during the centuries, correlating them pedagogical and reflexively in the light of Christian iconography. Dogmas are essential in understanding about the person of Mary. By iconography, color theology, it is possible to present central themes of the Marian dogmatic thinking. This work also seeks to show the experience of the dogmas of Mary through Latin American and Brazilian popular piety, trying to show the possibility of knowledge that there is in the interaction between theology and art.