Inaug.-Diss.--Basel. / Vita. Bibliography: p. 64-67.

Th. Ph. D.--Art history--Philadelphia (Penn.)--Pennsylvania State University, 1982. / Bibliogr. p. 225-238.

Inaug.-Diss.-Basel. / Vita. "Die Arbeit erschien auch erweitert und mit 27 Lichtdrucktafeln versehen als Heft 17 der "Studien zur Deutschen Kunstgeschichte" Verlag von J.H. Ed. Heitz ... Strassburg."

Inaug.-Diss.-Basel. / Curriculum vitae. "Das ganze erscheint ... als heft 143 in den 'Studien zur deutschen Kunstgeschichte'" "Literaturverzeichnis": p. [63]-66.

Inaug.-Diss.-Basel. / Curriculum vitae. "Das ganze erscheint ... als heft 143 in den 'Studien zur deutschen Kunstgeschichte'" "Literaturverzeichnis": p. [63]-66.

Inaug.-Diss.-Basel. / Vita. "Die Arbeit erschien auch erweitert und mit 27 Lichtdrucktafeln versehen als Heft 17 der "Studien zur Deutschen Kunstgeschichte" Verlag von J.H. Ed. Heitz ... Strassburg."

No description available.

Thesis (Ph. D.)--University of Washington, 1981. / Vita. Bibliography: leaves [453]-471.

This project explores the work of Hans Holbein the Younger, sixteenth-century printmaker and portraitist, through the lens of early modern physiognomic thought. This period's renewed interest in the discipline of physiognomy, the art and science of "reading" human features, reflects a desire to understand the relationship between outer appearances and inner substances of things. Physiognomic theory has a host of applications and meanings for the visual artist, who produces a surface representation or likeness, yet scholarship on this subject has been limited. Examining Holbein's social context and artistic practice, this project constructs the possibility of a physiognomic reading of several major works. Holbein's engagement with physiognomic theories of appearance and representation provides a vital point of access to early modern discourse on character, identity and self. / Art History

This analysis is on the function of cadaver or transi tombs in the south of England and Germany from the fifteenth to early sixteenth centuries, at particular moments when theological and cultural shifts related to Church reforms and the Reformation were tethered to new considerations about death, memorial, and changing concepts of the soul and matter. The study begins with a focus on the tombs of Henry Chichele (1364–1443) in Canterbury Cathedral in Canterbury, England, and Alice de la Pole (1404–1475) of Saint Mary’s Church in Ewelme, Oxfordshire, England. Additionally, the memorial relief of Ulrich Fugger (1441–1510) in Saint Anna's Church in Augsburg, Germany, acts as a bridge to Hans Holbein’s painted Dead Christ in the Tomb (1521) in the Kuntsmuseum Basel, in which Christ is simultaneously portrayed as an effigy, transi, and resurrected body. This was also an extended period when notions of visuality changed, along with preferences for different media and pressures on images and objects. As the demands of verisimilitude and discourses about presence and matter changed, media progressed from three-dimensional sculpture and carved relief to oil paint on wood. Transi tombs embodied this trajectory, altering uses and impressions of materials as they progressed from metal to stone to relief carving and paint. Transi tombs, in particular, structured time as a malleable construct, through the incorporation of varying images and their configuration in different visual strata and degrees of vividness and decay. By merging motifs of the dead with the Resurrected Christ, the transi tomb phenomenon situated death in relation to the viewer’s experience of mortality, memorial, and remembrance. Through these changing images and media, public perception of death was inextricably transformed, coinciding with the advent of the Reformation. / Art History