This thesis examines the patronage strategies of Paolo Cassotti, a wealthy wool merchant living in Venetian-dominated Bergamo in the early Cinquecento. Cassotti challenged the rigid class structure of Bergamasque society, first through his conspicuous artistic and architectural patronage within the city walls, and then by constructing a suburban villa: the Villa Zogna, a graceful example of early Renaissance architecture that was unique in Bergamo. In 1512 he hired a local artist, Andrea Previtali, who had trained with Giovanni Bellini in Venice, to adorn the villa with a fresco cycle depicting the mechanical or practical arts. This thesis explores the ways in which Paolo Cassotti used Villa Zogna and its fresco cycle to shape a positive representation of himself and his fellow merchants as part of the foundation of an ordered, stable society, thereby accomplishing visually what he could not do socially. / Art History

This thesis evaluates the artistic contributions of convent women in Renaissance Italy during the period c. 1450-1550 with individual case studies in Venice and Prato. As the cost of the traditional marriage dowry inflated markedly over the course of the fifteenth century, an increasing number of girls from affluent family backgrounds were sent to the convent in an effort to spare their families the financial burden of marrying them off. Convent vocations were not only financially convenient for families with daughters but offered a socially respectable alternative to marriage that many came to rely upon over the course of the latter fifteenth and sixteenth centuries. The heightened presence of highborn girls in Italian convents seems to correspond with a concurrent development in female monastic artistic production. This point will be demonstrated in my study through analysis of two objects: the illustrated convent chronicle of Santa Maria delle Vergini (c. 1523), now in the Museo Correr in Venice and the illustrated frontispiece of Beatrice del Sera's convent play Amor di virtù (1555), preserved in the Biblioteca Riccardiana in Florence. Both of the considered works complement a text also written by convent women during the same period that demonstrate their knowledge of historic and current events, in addition to contemporaneous developments in the visual arts. The corresponding texts will be examined in a supporting manner to aid in interpreting the subject matter of the illustrations. Subsequent to identifying the pictorial content of these illustrations, I will elucidate how the convent artists successfully assert a female identity through their respective visual representations, and determine what specific type of identity they were motivated to promote. / Art History

Thesis (Ph. D.)--Florida State University, 2002. / Advisor: Dr. Jack Freiberg, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Oct. 7, 2003). Includes bibliographical references.

Issued in part (xii, 47 p.)--as the author's inaugural dissertation, Basel. / "Literatur-abkürzungen": p. [x]-xvi.

Cases of Italian embedded self-portraiture appear in the sacred art of some of the most renowned artists of the Cinquecento and early Seicento, artists such as Bronzino, Michelangelo, Titian, Tintoretto, and Caravaggio. This thesis first examines the history of the practice from its origins in Quattrocento Florence and Venice then argues that an important development in the function and presentation of embedded self-portraits can be observed as Cinquecento artists experienced broad shifts in religious and cultural life as a result of the Reformation and Counter-Reformation. It also assesses three works by Caravaggio to suggest that embedding self-portraits in religious art was a variable and meaningful convention that allowed artists to inject both their personal and public emotions. This thesis argues that in the Cinquecento and early Seicento, the very gesture of embedding a self-portrait in sacred artworks provided a window into an artist's individuality, personality, and piety.

Orientador: Luiz Cesar Marques Filho / Acompanha volume das figuras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-05T18:23:39Z (GMT). No. of bitstreams: 1 Gomes_Waldemar_M.pdf: 99392439 bytes, checksum: bbd9e4a60a5bca216b0c5680fecf9ea2 (MD5) Previous issue date: 2006 / Resumo: A construção do Sepulcro do Papa Júlio II ocupou 40 anos da vida produtiva madura de Michelangelo, entre 1505 e 1545. Idealizada como um grande mausoléo composto de cerca de 40 esculturas e ornamentos em bronze para ser construída na Basílica de São Pedro, o monumento passou a sofrer reduções gradativas a cada novo projeto que foi assinado entre Michelangelo e os herdeiros e executores da vontade do papa. O monumento edificado não mais na Basílica de São Pedro, mas na Igreja de San Pietro in Vincoli, conta com apenas 7 esculturas, algumas delas de discípulos do mestre florentino. Ao afirmar que o resultado final foi o resultado possível a que o artista conseguiu chegar para ver-se finalmente livre daquela encomenda, a crítica tem considerado que essa obra ficou muito aquém dos sonhos grandiosos tanto do papa quanto do próprio artista. A partir dos recentes trabalhos de restauro, Antonio Forcellino, Adriano Prosperi e Christoph L. Frommel avançaram novas hipóteses sobre as condicionantes sociais, políticas e religiosas que nortearam a conclusão do monumento e que teriam motivado Michelangelo a fazer a escolha de certas esculturas em detrimento de outras influenciado que teria sido pelo conteúdo do opúsculo Il Beneficio di Cristo. Com isto, eles criaram uma das mais novas e revolucionárias teorias sobre o programa iconográfico do resultado final dessa obra e avançaram novas luzes para sua compreensão, contribuindo para que possamos entendê-lo melhor / Abstract: Michelangelo spent 40 years both in his mature and productive life to build The Tomb of Pope Julius II between 1505 and 1545. Planned at the very beginning as a big mausoleum adorned with around 40 sculptures and pieces of bronze to be construct at Saint Peter Church, the sepulchral monument was reduced at each new project that was signed between Michelangelo and the executors and heirs of Pope Julius' wiIl. The monument was finally constructed not more in Saint Peter Church, but in Saint Peter in Chains, with only 7 sculptures, some of them by the hand of Michelangelo's disciples. Saying that the final result was a possible arrangement that the artist could arrive for to be free forever the scholars have appointed that this work became much distant from the dreams of the pope and the proper artist. Based on the recent works on restoration conducted by Antonio ForceIlino and supported by the studies made by Adriano Prosperi on religious field side by side the inquiries made by Christoph L. Frommel on the sculpture of Moses they advanced new hipothesis on the social, political and religious context that marked the conclusion of the monument and that motivated Michelangelo to choose some sculptures and not others under the influence of the little book II Beneficio di Cristo. FoIlowing this way they created one of the newest and the most revolutionary theories on the iconographic program of the last project of this work putting new lights on its comprehension and help us understand it better / Mestrado / Historia da Arte / Mestre em História

abstract: Many religious textual accounts describe provocative women: The Great Whore from the Apocalypse, Saint Mary Magdalene from the New Testament, and the Daughters of Mara from the Buddhist tradition are all accused of fornication or the seduction of men. However, when artists have depicted these subjects, the women are rarely shown transgressing in the ways the texts describe. The Great Whore is often masculinized and shown as the equal of kings, Mary Magdalene assumes divergent attitudes about prostitution in early Renaissance Europe, and the Daughters of Mara are comparable to other Buddhist deities, recognizable only from the surrounding narrative. Therefore, in this inquiry, I seek out the ways that artists have manipulated misogynistic religious narratives and introduced their own fears, concerns, and interpretations. Artistic deviations from the text indicate a sensitivity to cultural values beyond the substance of their roles within the narrative. Both the Great Whore and her virtuous counterpart, the Woman Clothed in the Sun, have agency, and the ways they are shown to use their agency determines their moral status. Mary Magdalene, the patron saint of prostitutes and a reformed sinner, is shown with iconographical markers beyond just prostitution, and reveals the ways in which Renaissance artists conceptualized prostitution. In the last case study, the comparison between the Daughters and the Buddhist savioresses, the Taras, demonstrates that Himalayan artists did not completely subscribe to the textual formulations of women as inherently iniquitous. Ultimately, these works of art divulge not just interpretations of the religious traditions, but attitudes about women in general, and the power they wielded in their respective contexts. / Dissertation/Thesis / Masters Thesis Art History 2020

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This thesis examines pieces of visual art that are untraced, stolen or otherwise understood as lost. It conceptualises how this alters artworks. Are they still ‘objects' in ‘visual' culture? Might they become literature? Lost works continue to be circulated and interpreted through practices of remembrance, narrative and often through visual reproductions. These become extraordinarily overdetermined once a work vanishes. I investigate this process in four critical case studies and a novella. The first study looks at Vanessa Bell's painting The Nursery (1930-32), a major work which has been critically neglected because unavailable. I ask what this can tell us about memory and nostalgia, and explore the ghostliness of visual representations. The second study examines Leonardo Da Vinci's Mona Lisa in the period after it was stolen (1911-13). I closely read some startling journalistic responses to this and to earlier, Victorian thefts. Through these writings there emerges a new kind of ekphrasis and a new conception of the museum. My third study builds on these readings of visual and literary restitutions to consider how lost art could inspire a corresponding critical methodology. With reference to writings on aesthetics by Burke and Derrida, I look at William Blake's Virgil woodcuts, reading them through their missing parts, including chopped-off edges. The fourth study explores how lost works can be restituted creatively as well as critically. I analyse missing episodes of Doctor Who, which have inspired reconstructions from fans – an active audience of lost art. Finally, my novella tells the story of a curator of an illicit museum; it uses the epistolary form, which has a history of creating drama through lost letters. My conclusion suggests how, using evidence to feel for what cannot be seen, a focus on lost art can spark unique ways of thinking about vision, writing and criticism.