No description available.

This thesis discusses an Early Modern art history topic on European Jesuits’ artistic activities in late Ming Dynasty China. By considering methodologies in translation and localization, provided by scholars across the world, the author provided three case studies of images to attentively explain why the missionaries did not meet their initial goal of converting Ming China. In this thesis, the author argues for the dynamism, but ultimate failure, of Matteo Ricci and Nicolas Trigault’s strategies of cultural translation, which met numerous obstacles, took on a life of their own and were thereby mistranslated or untranslatable, or were met with disapproval by both the Chinese and the Roman authority at a later time. / Art History

This paper is analyzing the renaissance painting Venus Cythereia by artist Jan Massys and the neoclassical painting Danaë and the shower of gold by artist Adolf Ulrik Wertmüller. The research aims to answer questions about beauty ideals and the objectification of the female body from a feminist theoretical basis. This paper also aims to account for how ancient beauty standards and ideals are reflected in the imagery of the renaissance and neoclassicism. The purpose is also to problematize the image of the female nude in art history. Symbolism is analyzed to research the mythology and meaning behind chosen paintings. The analysis show how different aspects of beauty have influenced pictorial art. The analysis also show how the objectification of the female body comes from both mythology and society. The analysis reflects on how women have been portraid in the purpose of a symbol or object rather than a human being, especially in mythical art.

This thesis focuses on swedish modernist painter Sigrid Hjertén. The purpose of the thesis was to research how Hjerténs art and craftsmanship was depicted in daily newspapers from the year 1910 to 1940. The method and theory was mainly critical discourse analysis for the research of the articles in daily newspapers for the set time. The analysis is divided in three parts, one for each decade with an introductory part where a short analysis of how Hjertén was depicted in a variation of litterature. In the discussion the results from the analysis is presented and discussed, and different research paths are presented. The result from the analysis is that the general depiction of Hjerténs craftsmanship in daily newspapers from 1910 to 1940 was positive, with emphasis on the 1930’s decade. The analysis portrays partial inequality between different social groups.

No description available.

Four site-specific works produced between 1982 and 1984 in which Hans Haacke utilized the traditional medium of oil on canvas were examined in conjunction with an overview of the underlying and interrelated principles and concepts that have guided his approach to art from 1958-1988.

"Gudomlig anatomi" meaning “Divine anatomy”, is an art-scientific study of the divine portrayedthrough the human body. In this essay, I examine the form and perception of beauty in directrelation to ideals surrounding the body and its consciousness. I have selected two works of art togive examples of how the body can be depicted and at the same time give rise to strong existentialthoughts and symbolic interpretations. I also explore how beauty has been portrayed, why it isportrayed as it is and what the body's function in that portrayal is. I bring forth ideas about thedivine and the role of man in direct relation to the works selected. The conclusion is that man's pursuit of beauty, perfection and divinity does not seem to change, but that perception and ideals change and thus the form of expression of what is portrayed. / ”Gudomlig anatomi” är en konstvetenskaplig undersökning om det gudomliga porträtterat genom människokroppen. I denna uppsats undersöker jag skönhetens form och perception i direkt relationtill ideal kring kropp och medvetande. Jag rör mig in i existentiella termer och drar paralleller tillexterna vetenskapliga grenar, såsom psykologi och filosofi. Detta gör jag för att formulera ett starkt argument för vad skönhet som begrepp är och har varit, både i och utanför konstvärlden. Sedan drar jag in mitt fokus på konstens värld, där jag analyserar vilka tidigare teorier som existerat kring just denna sorts undersökning. Jag har valt ut två konstverk för att ge exempel på hur kroppen kan avbildas och samtidigt ge upphov till existentiella tankar och symboliska tolkningar. I både teoriavsnittet, analysdelen och diskussionen utforskar jag hur skönheten har porträtterats, varför den porträtteras som den gör och vad kroppens funktion i detta är. Likaså tar jag upp ideér kring det gudomliga och människans roll i direkt relation till verken som valts ut. Jag utgår också från perspektivläran, både i analysen som i diskussionen och min slutsats är delvis byggd på dess principer. Jag vill undersöka vad intentionen av skapandet är och har varit för det mänskliga medvetandet, både för konstnärerna, för betraktaren samt vad det tänkta resultatet av upplevelsen av dessa verk var. Slutsatsen är att människans jakt på skönhet, perfektion och gudomlighet inte tycks ändras, men att perceptionen och idealen förändras och därmed uttrycksformen av vad som porträtteras.

This dissertation examines the wooden wayside shrines of Lithuania and the unique role they played in the religious, social and political history of Lithuania from the end of World War II to the 1990s. Two manifestations of performance are discussed: (1) the development of the wayside shrine tradition in the territory of Lithuania itself, and (2) the radicalization of the tradition among émigré artists rebuilding a sense of community in the West. With the annexation of Lithuania into the Soviet Union following World War II, the Communist government aggressively repressed but never completely eradicated the religiously-based wayside shrine tradition. Beginning in the 1970s, the Folk Art Society in Lithuania vigorously generated a renaissance in the folk heritage. Society members turned to the arts and crafts tradition and created over thirty, large-scale ensembles of woodcarvings throughout the countryside. As part of a struggle to assert Lithuanian cultural identity, the ubiquitous wayside shrines composed of roofed poles with chapels containing free-standing religious figures evolved into totemic carvings, which combine religious and secular figures fully engaged on the trunk of the totem pole. In North America, the Lithuanian diaspora recreated the shrines predominantly in miniature form, often using a greater variety of materials and tools. In this radicalized form they became the symbol of the Lithuanian community's identity in all aspects of its visual culture. The dissertation is organized into three sections: (1) an examination of the historical tradition, 1850–1940; (2) an analysis of the metamorphosis of the tradition in Lithuania, 1940–1990; (3) a comparative analysis of production in North America. Extensive fieldwork and interviews in Lithuania and North America, and research in previously unexplored archives inform the dissertation. Prior scholarship on the wayside shrine tradition has remained largely descriptive. This study seeks a broader cultural analysis, including the North American production which has not been documented until now. The contribution of this dissertation is to synthesize the significance of this art form by applying a variety of scholarly disciplines: art history, religion, anthropology, history, material culture, and immigration studies.

This dissertation examines the relationship between art, architecture, and public space in Warsaw since 1970. With an awareness of the marks and erasures of history, I consider the political, social, and cultural transformations of the last five decades and how such changes are represented, omitted, and problematized in the urban landscape. Beginning with the 1970s, I discuss a series of exhibitions, performative interventions, monuments, and public art initiatives in relation to the broader context of Warsaw’s evolution from the Polish People’s Republic (PRL), through the transition years of the 1990s, to EU membership, and into the current phase of global capitalism and growing populist nationalism. My case studies illuminate the ways in which these art initiatives have had the potential to promote engagement with the urban landscape, raise questions about history and memory, and produce conditions that allow for the building of community. Chapter one examines a series of socialist-era exhibitions that used Warsaw as theme and inspiration, and boldly envisioned an alternative reality for the city, with artists reinventing public spaces and proposing ways for art to improve everyday life. The performative interventions of Akademia Ruchu, an artist collective founded in 1973, are the subject of the second chapter, which examines their Warsaw street-actions and community engagement, illuminating the importance of site and the power of the everyday. Chapter three analyzes the successes and failures of four monuments dating from 1985 to 2010, and discusses how such commemorative projects illustrate new aims in the construction of national narratives in the post-1989 period. Finally, chapter four examines the local communities and participatory practices in the work of two contemporary art initiatives: Stacja Muranów and the Bródno Sculpture Park. Together these chapters illuminate the complex relationships between art, artists, and the physical spaces they inhabit. I argue that Warsaw plays an active role in how these projects are understood, and that these meanings are often closely bound up with the realities of everyday life, both as it existed under state socialism and in the current post-socialist city. / 2022-12-13T00:00:00Z

No description available.