Published in part (60 p.)--as the author's inaugural dissertation, Heidelberg, 1907, with title: Ueber Wolf Huber als Maler und einige Meister des Donaustiles.

Proefschrift--Utrecht. / Published in full under title: Carel van Mander en Italië, 's-Gravenhage, 1954. "Stellingen": [2] leaves inserted.

Thesis (M.A.)--Zhong guo wen hua xue yuan. / Cover title. Reproduced from typescript. eContent provider-neutral record in process. Description based on print version record. Bibliography: p. 225-[228].

Thesis (M.A.)--Zhongguo wen hua xue yuan. / Cover title. Rectos of double leaves mostly blank. Reproduced from typescript. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 129-131.

Thesis (M.A.)--Taiwan da xue, 1975. / Reproduced from typescript copy. Includes bibliographical references (p. 165-177).

Thesis (M.A.)--Guo li Taiwan da xue. / Reproduced from typescript. Includes bibliographical references (leaves 57-66).

Thesis (M.A.)--Guo li Taiwan da xue. / Reproduced from typescript. Includes bibliographical references (p. 177-193).

Thesis (M.A.)--Zhongguo wen hua xue yuan. / Reproduced from typescript. eContent provider-neutral record in process. Description based on print version record. Bibliography leaves 104-[107].

My thesis focuses on the work of German painters in Italy c.l770-1800, and addresses issues raised by their complex relationship with the 17th century Italianate landscape tradition. Jakob Philipp Hackert (1737-1807), Johann Christian Reinhart (1761-1847), and Joseph Anton Koch (1768- 1839) worked in Italy precisely because they considered themselves to be the inheritors of the 17th century landscape style of Claude, Dughet, Rosa, and Nicolas Poussin. But while the German paintings do resemble the earlier works, they also revise the 17th century programme of representing Ideal nature. They are more detailed and precise in their depiction of natural phenomena; they also represent natural events and sites not included in the traditional canon. Extrapolating from 18th century critical terminology, I have developed the term "particularity" to focus attention on this unprecedented attention to the details of nature. I argue that the late 18th century German landscapes revise the Italianate landscape tradition so that it embodies particularity, and that the impetus for this change comes from two contemporary sources: natural history -- especially the nascent sciences of geology and biology -- and art theory. My argument is divided into three sections. In the first, I establish the existence and visual characteristics of particularity first by contrasting 17th century versions of the famous cascades at Tivoli (by Claude, Dughet, and others) with depictions of the same site by late 18th century German artists, and second, by describing the new sites which were explored and depicted by Hackert, Reinhart, and Koch. In the third and final chapter of this section, I discuss in detail the relationship of landscape depiction and natural science in a specific case: the scientific landscape illustrations by Pietro Fabris for Sir William Hamilton's Campi Phlegraei: Observations on the Volcanos of the Two Sicilies (1776). The involvement of British, German and French landscape painters with discoveries in contemporary natural history is vividly exemplified by Hamilton's book. In the second section, I consider the features of German natural history and art theory c.1770-l800 which encouraged and shaped landscape painting. In two separate chapters I examine the ways in which Herder, Kant, and Goethe contributed significantly to each of these areas of thought. The relation between particular and universal, I argue, is fundamental to both natural history and art theory at this time, and the particular is emphasized in both disciplines. In the third section, I take up the implications for landscape depiction of this emphasis on particularity by focusing on specific contacts between German landscape artists and ideas from natural history and art theory.

Abstract The purpose of this article is to interpret a selection of El Greco’s Italian paintings (1560-1576) based on Bible texts in which ideas current during the Catholic Counter- Reformation are symbolised. At the age of nineteen El Greco, who was born in Crete in 1541 and was initially an icon painter in the Byzantine tradition, went to Venice. Through study and experiment, and by following the examples of other artists who had achieved artistic mastery and was of proven Catholic orthodoxy, he educated himself as an artist in the Western manner. Even during his years as an apprentice El Greco’s art is proof that he aspired to the highest humanly accessible values exemplified by Renaissance artistic theory, humanism and Christian spirituality — all of which later came to fruition in an unprecedented original combination in Toledo, Spain, where he settled permanently in 1577.