This dissertation is an exploration of Charles Bird King’s Gallery of Paintings. The Gallery opened in 1824 and, aside from a brief hiatus in the mid-1840s, was open to the public through the end of the antebellum era. King, who trained in London at the Royal Academy and under the supervision of Benjamin West, presented to his visitors a diverse display that encompassed portraits, genre scenes, still lifes, trompe l’oeils and history paintings. Though the majority of the paintings on display were his original works across these various genres, at least one third of the collection was made up of copies after the works of European masters as well as after the American portraitist Gilbert Stuart. This study is divided into four chapters. In the first, I explore late-colonial and early-republic public displays of the visual arts. My analysis demonstrates that King’s Gallery was in step with a tradition of viewing that stretched back to John Smibert’s Boston studio in the mid-eighteenth century and created a visual continuity into the mid-nineteenth century. In a second chapter, focused on portraiture, I examine what it meant to King and to his visitors to be “American.” The group of men and women King displayed in his Gallery was far more diverse than typical for the time period. King included many prominent politicians, but no American President after John Quincy Adams (whom King had painted before Adams’ election). Instead he featured portraits of many men of commerce as well as prominent women and numerous American Indians. In the third chapter, I look at a group of King’s original compositions, genre paintings. King’s style in this category was clearly indebted to seventeenth-century Dutch tradition as filtered through an eighteenth- and early-nineteenth-century British lens, in particular the works of Sir David Wilkie. My final chapter continues the exploration of Dutch influences over King’s work. These paintings draw together the themes of King’s sense of humor, his attitudes towards patronage and his methods of circumventing inadequate patronage through the establishment of the Gallery. Finally, they prompt us to reconsider the importance of European precedents in our understanding of how artists and viewers worked together to establish an American visual cultural dialogue. / text

The number of studies related to students from rural backgrounds in higher education has waned in recent decades; however, over one-third of children in the United States continue to be educated in rural locales and their college-going and college-completion rates lag behind those of their urban and suburban peers. Because many rural students are white, they are typically considered part of the white majority on campuses, but they often encounter challenges unique to students from rural backgrounds and unlike those of their majority white peers from urban or suburban backgrounds. Therefore, a number of researchers have called for additional, qualitative studies regarding students from rural backgrounds as a unique cultural group and their experiences with higher education. The current study utilizes portraiture, the qualitative methodology developed by Sara Lawrence-Lightfoot and Jessica Hoffmann-Davis, and a cultural framework combining social capital and critical standpoint theories to explore factors that affect students' enrollment, persistence, experiences, and perceptions related to higher education. Six students from one rural Texas high school who graduated in the top ten percent of their high school classes participated in the study, which included in-depth interviews, observations, and analyses. Each of the students collaborated in the creation of his or her portrait as well; these portraits portray the students' higher education experiences in considerable detail. Several factors are shown to have an impact on the experiences of rural students in higher education, including social capital, relationships, tacit knowledge, and finances. The study also demonstrates that female students from rural backgrounds face additional barriers related to higher education, such as romantic relationships, limitations on their future plans, and self-confidence. Implications for research, practice, and policy are also offered as opportunities to improve the experiences of rural students in higher education, and ultimately, their college enrollment and persistence rates. / text

To portray women without objectifying them is an intentional, political act. The art historical tradition is to paint women to extol their sexual beauty and to encourage possessiveness. There is a new guard of women painters who provide a counterpoint to this tradition by depicting a more multifaceted version of the female psyche. I align myself as an artist with them by attempting to broaden the depiction of women as subjects in painting. My subjects are beautiful and observable, but not consumable. They are more public than private and more iconic than intimate. My paintings have a strong connection to traditional portraiture in both style and technique. However, my subjects are contemporized through the use of modern fashion, unexpected facial expressions, unique color relationships and photographic cropping. / text

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The thesis focuses on four sets of official portraits of Queen Victoria and Prince Albert, which were painted by the German-born elite portrait specialist Franz Xaver Winterhalter (1805-1873) between 1842 and 1859. These portraits are examined in detail and are placed within the contexts of the existing scholarship on Franz Xaver Winterhalter, British portrait painting of the 1830s and 1840s, and the patronage of portraiture in Britain during the reigns of William IV and Queen Victoria. The thesis compares and contrasts these works with official representations of Queen Victoria and her husband by British artists; and examines the concept of “gender reversal” within the accepted notion of marital pendants by highlighting Winterhalter’s innovations in the genre of official portraiture.The thesis challenges the perception that Winterhalter’s employment at the court of Queen Victoria was due to the Queen’s alleged penchant for “all things German” by placing Winterhalter’s portraits within the context of the British Royal Collection. It examines the reasons for the artist’s success at the British court, accentuating among others Winterhalter’s ability to conceptualise in his portraits of Prince Albert the hierarchically-complex position of the Prince Consort. The overarching arguments of the thesis focus on two propositions - that by employing a foreign artist as her official image maker, Queen Victoria acquired ultimate control over the production, distribution and popularisation of her own imagery; and that this patronage is illustrative of the emergence of a royal and aristocratic international iconography that overrode the competing concept of ‘national’ schools of art.

This study contains qualitative portraits based on the stories of three white university professors who are nominated by their students as white allies. Through the thick description of setting and context, white privilege is named as the researcher's experience and that of each of the participants. The researcher examines ways in which each participant strives to disrupt racism. Using a lens of critical theory applied through critical pedagogy and critical whiteness philosophies, the researcher highlights the following themes as they emerge: education, exposure, empathy, and engagement. This study contributes to the literature by providing examples of white professors challenging racism in a university setting.

Orientador: Roberto Berton de Angelo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T18:43:22Z (GMT). No. of bitstreams: 1 Botti_MarianaMeloniVieira_M.pdf: 6142175 bytes, checksum: 322562b03355eea9eadb6d16651db0f9 (MD5) Previous issue date: 2005 / Resumo: Esta dissertação tem como objetivo principal investigar a problemática do auto-retrato fotográfico produzido por artistas brasileiras na contemporaneidade, trazendo como perspectiva de análise os estudos de gênero. Em um primeiro momento, realizamos uma contextualização histórica a fim de apresentar a intersecção entre arte e gênero, levantando algumas informações e exemplos sobre auto-retratos de mulheres no universo artístico. Mais adiante, em um segundo instante, analisamos a obra de seis artistas brasileiras contemporâneas que utilizaram suas próprias imagens fotográficas para comporem seus trabalhos. Essas artistas são: Brigida Baltar, Lourdes Colombo, Nazareth Pacheco, Neide Jallageas, Rochelle Costi e Rosângela Rennó. A pesquisa se ancora numa revisão bibliográfica multidisciplinar e no depoimento dessas artistas, a fim de estudar as necessidades e estratégias de elaboração da auto-imagem na atualidade, atravessando por questões centrais como a memória, a identidade, o corpo e o gênero feminino enquanto vivido e construído / Abstract: This dissertation investigates the problematic of the photographic self-portraiture produced by brazilian artists in contemporaneousness, bringing the gender studies as a perspective of analysis. At a first moment, we developed an historic contextualization to present the intersection between art and gender, rising some informatÍon and examples about women se1f-portraits in the artistic universe. Further on, at a second instant, we analysed the production of six contemporary brazilian artists that used their own photographic images to compose their works. These artists are: Brígida Baltar, Lourdes Colombo, Nazareth Pacheco, Neide Jallageas, Rochelle Costi and Rosângela Rennó. The research is based on a multidisciplinary bibliographic revision and interviews with these artists, in order to study the necessities and strategies of self-image elaboration nowadays, going beyond main questions such as memory, identity, body and the female gender as a lived and constructed concept / Mestrado / Mestre em Multimeios

This study examines the ways in which a formerly incarcerated U.S. born Africana man age 47 perceives, interprets, and copes with being criminalized and disenfranchised by interacting institutions which support white domination and black subordination. The focal point of inquiry is an analysis of the reverberating mental health impacts of structural racism via the criminal justice system. Utilizing portraiture and person-environment fit theory, this study presents a multivocal portrait of a man, his life, his family, and his community impacted by the stress/strain of navigating environments characterized by structural racism and inequality. The study seeks to add to the relevant bodies of knowledge a more nuanced and contextual examination of the negative mental health impacts of structural racism via the criminal justice system, which will inform policy and advocacy issues, as well as future interventions designed to empower historically marginalized populations in the U.S.

Focusing on a period roughly from 1865 to 1900, this dissertation utilizes close readings of paintings, illustrations, photographs, and other material culture to provide a lens on the rapid political and cultural transformation of the final decades of the Kingdom of Hawai‘i. Visual culture played a key role as a coercive tool as postbellum planters and industrialists who eyed Hawai‘i as the first Pacific outpost in an overseas American empire developed a colonial rhetoric that obscured Native authority and visibility and touted the “inevitable” extinction of the Hawaiian race. However, many images from this period which appear to illustrate Hawai‘i’s docility in the face of American supremacy do not fall as neatly into this simple interpretative framework as we might initially assume. For instance, this project observes how figures such as Queen Emma and King David Kalākaua refused to accept the threat to their sovereignty as they themselves leveraged visual culture in resistance to American imperialism. Chapter One analyzes photographs of Queen Emma as reflections on both Victorian mourning culture and Emma’s political ascendency from 1865-1885. Chapter Two explores paintings of early Maui sugar plantations by Enoch Wood Perry, Gideon Jacques Denny, and Joseph Dwight Strong as lenses on questions of slavery, Asian contract labor, and annexation. Chapter Three provides a close reading of the anti-annexation critique in Mabel Clare Craft’s illustrated book Hawaii Nei alongside the visual and literary production of other women who depicted Hawai‘i in the years surrounding annexation. Chapter Four jumps to the mid-20th century as it examines the painted portraits of late nineteenth-century Hawaiian royalty created by Fredda Burwell Holt alongside key works of literature by her husband, John Dominis Holt, a leading voice of the “Hawaiian Renaissance” that emerged in the 1960s following the resolution of Hawaiian statehood. Overall, this dissertation embraces its case studies as necessarily multivalent and open-ended as it resists the tendency to craft a narrative in which primitive indigeneity meekly yielded to the unstoppable barrage of American imperial pressure. Together, these chapters navigate a material landscape of nineteenth-century Hawai‘i that was layered with imperial control as well as opposition.