Thesis (M.A.)--University of Wisconsin--Madison, 1973. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--Columbia University, 1983. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 268-283).

Thesis (doctoral)--Humanistiska fakulteten, Stockholms universitet, 1992. / Added t.p. with thesis statement inserted. Abstract and summary in English. Includes bibliographical references (p. 405-420) and index.

Since the Middle Ages, strict regulations had divided the Venetian craft guilds according to the raw materials that they used. Because of this there were few occasions in which to compete over the production of cognate objects. Altarpieces were the major exception. The design and production of an altarpiece, whether its central image was painted or carved from stone or wood, had involved multiple competencies, providing work for different artisans, and facilitating the exchange of ideas across mediums. Over the last third of the fifteenth century, however, sculpted altarpieces flourished and their designs increasingly eschewed participation from painters as polychromy became more and more limited and new classicizing tastes prevailed. While collaboration did not disappear, the dialogical nature of altarpiece production in this period was imbued with a sense of competition. The discourse on media, however, was not restricted to the realm of aesthetics and matters of business or personal pride. Reflection upon the ontologies, merits, and symbolic efficacy of their materials was also informed by these objects' privileged locations on or in proximity to the altar. Previous studies on sculpted altarpieces have focused on morphology, iconography, and patronage. My study, in contrast, examines this object category as an intermediary, in a threefold sense: altarpieces acted as facilitators, as go-betweens engendering practical interaction between professional groups; they constituted a locus of artistic exchange between mediums, and of reflection upon the ontology of the crafts of painting and sculpture; the materiality of sculpted altarpieces engaged in a reciprocal inflection of meaning with their setting, the altar. By virtue of their unique status as a shared object category, altarpieces allow us to chart the interaction between the arts of Venice. Their privileged position at a fulcrum of holy space opens their interpretation to an array of written sources of information. An examination of these sources and of this formal and thematic dialog provides a window into understanding the artistic principles that guided artists and viewers in a city that produced almost no theoretical literature directly addressing the arts until the middle of the sixteenth century.

Thesis--München, 1970. / Vita. Includes bibliographical references (p. 98-102).

No description available.

Thesis--Munich. / Vita. Includes bibliographical references (p. 83-90).

This thesis comprises a study of the Venetian sculptured altarpieces during the period 1460 - 1530. During the course of research a surprisingly large number of examples were identified, many of which have so far received little attention. As well as providing an analysis of individual works, the thesis has the wider aim of examining the sculptured altarpiece as a genre, and hence also of contributing towards a greater understanding of the role of sculpture in Italian Renaissance art and society. The main objectives of study are a) a survey of the chronological and formal development of the altarpieces, b) an investigation of their material and the application of polychromy and gilding, as well as of their manufacture and cost, and c) an analysis of the patrons and their interest in sculpture. The thesis, which draws on various archival sources, further includes an appendix of documents, which illustrates in detail the making of a sculptured altar. A catalogue provides a corpus of the major sculptured altarpieces of the period between 1460 and 1530 which can still be identified. The discussion of the objects accompanied by an extensive photographic documentation. Several altars have been reconstructed through careful reading of the documents. Others, which have not hitherto been published, are reproduced and discussed here for the first time. Rather than providing attributions of individual works on the basis of style, the emphasis lies on the cultural-historical analysis of a genre, and on the assessment of the aesthetic and financial value of sculptured altarpieces and the appreciation of sculpture in Venice in general. Complementing previous studies of Venetian painted altarpieces, the results of research presented here aim to contribute to a fuller composite picture of the art market around 1500, and of the whole artistic environment in Venice of the period.

Thesis--Giessen, 1972. / Vita. Includes bibliographical references (p. [i]-v).

Inaug.-Diss.--Leipig. / Includes bibliographical references.