Thesis (Ph. D.)--University of Kansas, 1988. / Illustrations, v. 2 (leaves 273-382), not photocopied. Includes bibliographical references (leaves 255-271).

Thesis--New York University. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 174-180).

No / Raman spectroscopic analysis of the pigments on an Italian painting described as a “Full Length Portrait of a Gentleman”, known also as the “Malatesta”, and attributed to the Renaissance period has established that these are consistent with the historical research provenance undertaken earlier. Evidence is found for the early 19th Century addition of chrome yellow to highlighted yellow ochre areas in comparison with a similar painting executed in 1801 by Sir Thomas Lawrence of John Kemble in the role of Hamlet, Prince of Denmark. The Raman data are novel in that no analytical studies have previously been made on this painting and reinforces the procedure whereby scientific analyses are accompanied by parallel historical research.

Thesis--Munich. / Vita. Includes bibliographical references.

The Virgin of Mercy is a Marian devotional image type recognizable by its portrayal of Mary protecting the faithful with her cloak. This thesis situates the iconography of painted panels within their historical and cultural context in Spain from the late medieval period to the Age of Exploration. I explain the image's origins and introduce its various versions, focusing on three major frequently commissioned subtypes: the Sponsorship of the Virgin, plague commissions, and the Mercedarian's Virgin of Mercy. I present a case study of one famous version of the type, the Virgin of the Navigators, and focus on the Spaniards and Amerindians beneath the cloak, situating them in relation to the historic debate that called into question the very humanity of the peoples of the Americas. The thesis explores the painting's possible statement the patrons may have been making through the artistic treatment of both groups.

Diploma thesis "Renaissance Painting Decoration of Coffered Ceilings in Selected Castles in Bohemia" first briefly introduces the most important examples of aristocratic residences with painted coffered ceilings in Bohemia. Painted coffered ceilings in Bohemia primarily occurred in the main halls of castles and palaces in the second half of the 16th century. The main part of thesis deals with two noble residences with painted coffered ceilings. Deal with detailed ceiling paintings Knights' Hall in the castle Telč and ceiling paintings of four halls Častolovice chateau. Attention is focused on themes ceiling paintings, their description and comparison with graphic templates. To the present day we have original coffered ceiling Knight Hall Castle in Telč with subjects from classical mythology (Hercules deeds). The author of the iconographic program was probably Zacharias of Hradec (1527-1589), who was one of the most powerful aristocrats in the Kingdom of Bohemia, and had the opportunity during his trip to northern Italy in 1551 acquainted with Italian art. The pride of the Častolovice chateau is especially large main hall with a coffered ceiling with 24 scenes from the Old Testament and other smaller hall with biblical scenes. This hall adjoin two smaller rooms with painted coffered ceilings with...

Zwei Beobachtungen bilden den Ausgangspunkt dieser Arbeit: Zum einen sind in der zweiten Hälfte des Quattrocento in der italienischen Malerei auffallend viele Bilder zu finden, in denen Triumphbögen die Hintergründe beherrschen. Zum anderen haben sich einige der berühmtesten Maler der Zeit wiederholt mit dem Motiv Triumphbogen auseinandergesetzt: Botticelli, Mantegna, Ghirlandaio und Perugino. Im Zentrum der Arbeit steht der individuelle Umgang der Künstler mit dem antiken Monument. Es stellen sich die Fragen, auf welchem Wissenstand die Auseinandersetzung mit antiker Architektur durch die Maler basiert und in welchem Verhältnis in ihren Werken Studium, Rekonstruktion und künstlerische Imagination stehen. Um die Grundlage zu diesen Überlegungen zu schaffen, werden im ersten Teil der Arbeit zahlreiche Quellentexte daraufhin befragt, welche zeitgenössischen Auffassungen über die Genese, die Funktion und die Bedeutung römischer Triumphbögen es gab. Außerdem ergibt die Analyse der Texte eine Bestandsaufnahme des Ausgangsmaterials: Aus ihnen geht hervor, zu welcher Zeit welche Triumphbögen wahrgenommen wurden, welche Monumente den Malern überhaupt als Vorbilder zur Verfügung standen. Einer Fülle von Architekturzeichnungen ist zu entnehmen, auf welche Weise Probleme der Rekonstruktion gelöst wurden. Auf Bildern ist die Vermischung von archäologischer Treue und freier Umarbeitung besonders groß. Im Hauptteil geht es deshalb um die Frage, welche Sicht Künstler auf die antiken Bauten hatten und nach welchen Methoden sie verfuhren, um sie in ihre Bilder einzufügen. Dazu gehören Untersuchungen sowohl der Art und Weise der formalen Aneignung römischer Vorbilder, des Verständnisses ihrer baulichen Funktion, der Rolle, die in diesem Zusammenhang die alltäglichen visuellen Erfahrungen für die Wiedergabe und Interpretation dieser Bauten spielten, als auch der Ikonographie, der inhaltlichen Bedeutung, die Triumphbögen in Bildern haben. / Two observations form the starting-point of this thesis: On the one hand there is a remarkable number of pictures whose backgrounds are dominated by triumphal arches in the second half of the Quattrocento in Italian painting. On the other hand some of the most famous painters of the time explored this motif repeatedly: Botticelli, Mantegna, Ghirlandaio and Perugino. The centre of this thesis is dedicated to the individual treatment of the antique monument by the artists. It implies questions in regard to the level of knowledge on which the painter’s exploration with antique architecture was based and to the relation between study, reconstruction and artistical imagination in their works. To create the basis for these considerations, in the first part of the thesis numerous sources are consulted with regard to the contemporary conceptions on genesis, function and meaning of Roman triumphal arches. In addition the analysis of the sources results in an account of the material: The sources reveal at which time what kind of arches have been perceived, which monuments have been actually available as models to the painters. How problems of reconstruction have been solved can be inferred from a vast number of architectural drawings. In the paintings the mixture of archeological faithfulness and free interpretation is especially obvious. Therefore the main part of the thesis is about the question which point of view on the antique architectures the artists had and which methods they applied to introduce them into their paintings. To this aspect also belong examinations of the kind of the formal acquisition of Roman models, of the understanding of their structural function, of the role, which the everyday visual experiences played for the reproduction and interpretation of these buildings, as well as of the iconography, the meaning the triumphal arches had in the paintings.

The topic of the diploma thesis is the Malostranský gradual (hymnal, collection of religious songs for the laity), a significant Renaissance illuminated manuscript made in the second half of the 16th century for the literary confraternity at the church of St. Nicholas in the Lesser Town of Prague. In the introductory chapters, the author describes the contextual methodological approach through which she interprets the work, continues with the historical context of its creation, and provides an overview of the current research on this subject. In the main part of the thesis, she presents the individual donors, whose names are recorded on the folios of the manuscript. Based on written sources, the author discloses not only their identity, and profession, familial and friendship ties, or their economic background and social standing, but also answers the question, what is the motivation behind their donation, how did they influence the gradual's decoration, and how did they present themself in this artistic medium.