Thesis (doctoral)--Ludwig-Maximilians-Universität zu München, 1936. / Vita.

Thesis (M.A.)--University of North Texas, Aug., 2007. / Title from title page display. Includes bibliographical references.

Thesis--Münster (Westf.). / Vita. Includes bibliographical references (p. 182-200).

Freiburg i. B., Phil. Diss. v. 1913, Ref. Vöge. / Vollst. als: Zur Kunstgeschichte des Auslandes H. 103. Includes bibliographical references. Also available on the Internet.

Thesis (doctoral)--Universität Leipzig. / Also issued without thesis statement and with illustrations. Vita. Bibliography: p. 88-90.

Freiburg i. B., Phil. Diss. v. 1913, Ref. Vöge. / Vollst. als: Zur Kunstgeschichte des Auslandes H. 103. Includes bibliographical references.

This thesis uses reception theory, as formulated by the late Wolfgang Iser, as well as ideas about interpellation or hailing, to compare and analyze two paintings: The Annunciation (c. 1435) by Roger van der Weyden and Personal Values (1952) by René Magritte. It demonstrates that interpellation and reception are part of the same process, and that reception theory is especially suited to this comparison and analysis-because it allows consideration of ways in which the comparable pictorial structures of both paintings facilitate their intentions. It argues that those intentions are to engage viewers in a dialogue that ultimately is beneficial to both pictures and viewers. Furthermore, based on this shared intent, and on visible structural similarities, it argues that each of the two paintings identifies and receives the other as a picture of the same image-that is, of the Annunciation.

This thesis examines Rogier Van Der Weyden's two unique fifteenth century Crucifixions, The Crucified Christ Between the Virgin and Saint John and The Diptych of the Crucifixion, in light of Carthusian beliefs, practices and relevant devotional texts. The specific text used to support this examination is the Vita Christi by Ludolph of Saxony, which in part deals specifically with the Hours of the Passion. Ludolph's text is given visual form in Rogier's paintings and supports the assertion that Rogier and Ludolph were connected by a shared belief and worldview. Key aspects of Rogier's life, supported by original documentation- familial ties, associates, patrons, use of finances, and his close involvement with the Carthusians-- support this assertion. Other models of connections of belief, evidenced through artist's work, are corroborated in the work of Grunewald, Sluter and Durer.