Alumni Dissertations

 

Alumni Dissertations

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  • The Golden Age of French Academic Painting in America, 1867-1893

    Author:
    Leanne Zalewski
    Year of Dissertation:
    2009
    Program:
    Art History
    Advisor:
    Patricia Mainardi
    Abstract:

    The aim of this dissertation is to present a more accurate assessment of nineteenth-century French academic art and its place not only in European art history but also in the history of American culture in the early Gilded Age. I focus on the phenomenally successful American careers of its four leading artists: William Bouguereau (1825-1905), Alexandre Cabanel (1823-1889), Jean-Léon Gérôme (1824-1904), and Ernest Meissonier (1815-1891). Several exhibitions and monographs have been devoted to these individual artists in the past three decades; however, these artists have been studied individually and largely within a European art framework, rather than collectively as a phenomenon in the context of the American art world of the early Gilded Age. Lacking is a thorough examination and comparative study of these artists' meteoric rise to prominence, their impact on the art scene in the United States, and their eventual eclipse. My study is the first to take a comprehensive approach to this collecting phenomenon through an analysis of contemporary accounts in journals, periodicals, art histories, and dealers' stock books. The early Gilded Age in the United States was a golden era for these four artists. Two international expositions--the 1867 Universal Exposition held in Paris and the 1893 World's Columbian Exposition held in Chicago--bracketed the golden age of French academic painting. This study explores the trajectory of their careers during this twenty-five year span by means of an analysis of multiple factors that led to their striking success in the United States. Among the most significant factors were the art dealers: Goupil & cie. and George Lucas in Paris, and Samuel P. Avery and Michael Knoedler in New York. These dealers brought French pictures to the United States following the four French artists' success at the 1867 Exposition, where American art was broadly perceived to be a failure. Aided by dealers, prominent American collectors quickly amassed collections comprised primarily of French academic art, and paintings by this quartet of French artists were among the most expensive on the market. American critics kept the artists in the spotlight, American writers canonized them in their first histories of French art, and collectors placed their pictures in newly-formed art museums. However, by the time the World's Columbian Exposition took place, the four artists' work had begun to seem outdated. The 1893 Exposition ushered in a new era, as contemporary American and French Impressionist art had quickly begun to replace French academic art in American collections.

  • TRADITION AND INNOVATION IN THE ITALIAN RENAISSANCE WORKSHOP: FROM PERUGINO TO RAPHAEL

    Author:
    Jennie Jee-Hyun Kim
    Year of Dissertation:
    2013
    Program:
    Art History
    Advisor:
    James Saslow
    Abstract:

    Throughout Pietro Perugino's career, pupils, assistants, and collaborators associated with his shops in Perugia and Florence were critical to his highly productive enterprise. The drawings of Perugino and his Florentine and Umbrian associates are a unique source of linear genealogy documenting the role of the master, the contributions and participation of the workshop, and the artistic exchange that occurred in the process. This dissertation examines the workshop practices of Perugino and his pupils as independent artists, using evidence furnished by workshop drawings. The drawings, byproducts of the daily operations of these workshops, reveal both continuity in practice over generations and the ways in which each generation adapted to changes in the artistic climate. The reconstructions, in addition, have the potential to shed additional light upon the intersection between tradition, theory, and practice, as well as socio-economic conditions, such as training, collaboration, and organization in the Renaissance workshop. The market for copies, variations, and replicas is considered in the context of the notion of imitazione and meaning and cultural value of copies unique to Perugino's time. And the different grades of workshop production are illuminated by Perugino's methods of production and design. Using evidence furnished by workshop drawings, this dissertation also examines the formative influence of the practices of Perugino on artists trained in his workshop. Among artists that came under his tutelage, two dominant tendencies emerge: a derivative style in Perugia among local artists under the shadow of Perugino's monopoly and an independent style, found outside of Perugia, reflecting the influence of Perugino's workshop instruction. The careers of two significant pupils, Berto di Giovanni in Perugia and Raphael in Florence and Rome demonstrate the transmission of the experience of Perugino's workshop through two very different career trajectories, and will be used as case studies. Characteristics of their practice that reflect the heritage of Perugino such as the systematic use of drawings, employment of tools and techniques of replication and the master's exemplum, and principles of organization will be evaluated to trace continuity and innovation in workshop practice.

  • MANIERA DEVOTA/MANO DONNESCA: WOMEN, VIRTUE AND VISUAL IMAGERY DURING THE COUNTER-REFORMATION IN THE PAPAL STATES, 1575-1675

    Author:
    Patricia Rocco
    Year of Dissertation:
    2013
    Program:
    Art History
    Advisor:
    James Saslow
    Abstract:

    The history of women's participation in religious movements during the Early Modern period in Europe has long been less commented upon in modern scholarship than that of their male counterparts. This project will enlarge our understanding of the participation of women in the visual program of the Counter-Reformation in the Papal State of Bologna. The study focuses on Bologna since the city had an unprecedented large group of active women artists as well as being a crucial site of Catholic reform. Knowledge of Bologna's women is still incomplete; therefore this dissertation is structured as a series of interlinked case studies, some of which rescue forgotten artists, while others add a new dimension to better-known figures. This research thus takes a necessarily broad approach, combining aspects of iconography, patronage, gender studies, and reception studies; it also integrates media neglected in previous studies such as prints and embroidery. The goal is to insert these artists into the larger philosophical and theoretical context of the city's intellectual history, first by investigating the links between religion, science, and naturalism; and second, by unpacking critical terms from the historiography of style that came to bear on their work. Lastly, the project explores the city's concern with women's virtue, as it is a constant thread woven into visual imagery of all media, from the sixteenth into the seventeenth century. The synthesis of all this material will produce a wider view of the still understudied and ill-documented relationship between women, religion and the visual arts in the complex period of the Counter-Reformation.

  • Apotheosis of the Public Realm: Civic Classicism in New York City's Architecture

    Author:
    Paul Ranogajec
    Year of Dissertation:
    2014
    Program:
    Art History
    Advisor:
    Kevin Murphy
    Abstract:

    In the years around the consolidation of Greater New York in 1898, a renewed interest in republican political theory among progressive liberals coincided with a new kind of civic architecture. For the first time in American history, cities and the urban public emerged as crucial parts of democratic citizenship, at least for progressives such as Frank Goodnow, Frederic Howe, and Herbert Croly. At the same time, New York City was promoted as the nation's cultural and commercial capital: the "American metropolis," in Croly's words. Architects, too, played a key role in articulating the city's and the urban public's new status and visibility. New York City was a site for the simultaneous reimagining of citizenship, the public realm, and architectural and urban form. In this context, an informal school of architecture in New York that I call "civic classicism" developed three distinctive design modalities to reform the city's public space: the ensemble of buildings in a garden-like terrace, the continuous street wall around a historic square, and the free-standing monument juxtaposed to the gridiron urban plan. By attending to issues of publicity--of public space and visibility--broadly considered, architectural works by Carrère & Hastings, Cass Gilbert, and others are shown to be linked to the civic, political concerns of their time. The dissertation thus moves beyond the conventional biases in the historiography of this architecture, which has treated the work in mostly pejorative terms. Chapter one traces the course of the nineteenth-century American "architectonic public realm"--that is, the ways in which political thought and architectural and urban form conditioned one another-- as a foundation for understanding the changes around 1898. In Chapter two, Herbert Croly's political theory and architectural criticism are studied together to reveal the connections between his republican politics and his pragmatic architectural aesthetics, which championed civic classicism's suitability to the modern city. Chapters three, four, and five examine the three architectural modalities at the Staten Island Civic Center, Bowling Green, and the New York Public Library, respectively. The conclusion briefly suggests some reasons why civic classicism declined in the 1920s and after.

  • Italians and the New Byzantium: Lombard and Venetian Architects in Muscovy, 1472-1539

    Author:
    Ellen Hurst
    Year of Dissertation:
    2014
    Program:
    Art History
    Advisor:
    James Saslow
    Abstract:

    This dissertation explores how early modern Russian identity was shaped by the built environment and, likewise, how the built environment was a result of an emerging Russian identity. I focus on the years 1472 to 1539 because they were crucial to the formation of this early modern Russian identity. Muscovite princes, seeking to rebuild Moscow's cityscape in a grander style, imported a large community of architects, engineers, stonemasons, and statesmen from Lombardy, the Veneto, and Rome. At least six architects, and an unknown number of masons, from Italy worked in Muscovy during these years, and their presence indelibly changed the face of Russian architecture and culture. The Muscovite princes sought to recreate the cityscape of Moscow as a symbol of the power gained when Ivan III freed his people from Mongol control and began consolidating Russian lands into an emerging, unified state. Furthermore, with the collapse of the Byzantine Empire in 1453, Muscovy declared itself capital of Orthodox Christendom, casting its authority across the Russian lands. Accordingly on the ascent, Muscovy actively sought to define its emerging sense of national identity in a new architectural language; it deliberately looked to the traditions of Medieval and Renaissance Italy to assist in this process. The resulting hybrid architecture was a combination of the revered architectural traditions of medieval Kiev and Novgorod with the Western Renaissance, all overlaid with a fervent Byzantine theological persuasion. Thus, Muscovy's use of foreign architects is emphatically not indicative of a deference to a "superior" West or of a desire to become or appear Western, as some older scholarship implies. Instead, it reveals the ingenuity of a culture on the verge of statehood, one that seems to have understood that artistic forms could be transferred and "repurposed."

  • From Berlin to Broadacres: Central European Influence on American Visionary Urbanism, 1910-1935

    Author:
    Margaret Herman
    Year of Dissertation:
    2014
    Program:
    Art History
    Advisor:
    Kevin Murphy
    Abstract:

    In the 1920s and 1930s, Eliel Saarinen, Richard Neutra, and Frank Lloyd Wright each designed plans for real and imagined American cities. Saarinen's Chicago and Detroit plans of 1923-1924, Neutra's Rush City Reformed of 1926, and Wright's Broadacre City of 1935 are stylistically unique but all contain a similar fascination with hypothetical transportation networks and high-speed expansion that reflect a common relationship to the development of urban planning as a discrete field in Berlin and Vienna around 1910. This dissertation will highlight several features of turn-of-the-century Central European planning that played an outsize role in the development of these visionary responses to machine-age American urbanism, including suburban extension and infrastructure projects, municipal planning exhibitions, and a model of metropolitan expansion propagated by Otto Wagner. It will also root Saarinen's, Neutra's, and Wright's plans in their immediate context of interwar Chicago and Los Angeles, where the effects of the car and associated changes to the cityscape provided a rich backdrop for futuristic design. Finally, the dissertation will examine what these urban plans reveal about the perceptions of the new American car culture among modern architects.

  • Manuel de la Cruz González: Transnationalism and the Development of Modern Art in Costa Rica

    Author:
    Lauran Bonilla-Merchav
    Year of Dissertation:
    2014
    Program:
    Art History
    Advisor:
    Anna Indych-López
    Abstract:

    While scholars are increasingly scrutinizing twentieth-century Latin American art and inserting it into the canon of modern art history, studies of the region usually leap from Mexico to South America, skipping Guatemala, El Salvador, Honduras, Belize, Nicaragua, Costa Rica, and Panama. This is not due to a lack of dedicated artistic effort in the isthmus, but rather to poor cultural infrastructure, which made being a modern artist in the region particularly challenging, and the underdeveloped state of local art histories, which have yet to traverse national borders. This oversight of Central American art makes it difficult to grasp the full scope of Latin America's adaptation of, and contribution to, international modernism. My dissertation counteracts the privileging of art from North and South America and introduces Costa Rican art history to an international audience by examining the art and life of Manuel de la Cruz González Luján (1909-1986), one of Costa Rica's most influential modern artists. It emphasizes the importance of the transnational cultural currents that influenced González and his colleagues, and systematically discusses two fundamental phases of artistic growth in the country, the 1930s and the 1960s. By placing González's artistic production within the socio-historic, cultural, and aesthetic contexts of Costa Rica, this dissertation is a groundbreaking case study of the development of modern art in this Central American nation. González prodded the boundaries of the provincial Costa Rican art world and moved beyond local frameworks to take part actively in the spread of modernist trends. He embraced regionalism, modernismo, and Latin American impressionism while in Costa Rica, and surrealism and geometric abstraction during the ten years he spent abroad in Cuba (1948-1950) and Venezuela (1950-1957). Upon his return, he shared his knowledge and experience of international modernism, but was faced with an unprepared and unpropitious artistic setting that neither accepted nor encouraged his geometric abstract art. What his story shows is that in order for a transnational style or idea to take hold in a country such as Costa Rica, which could be any "ex-centric" location, it is necessary to have a receptive context. This analysis of González's career thus highlights the tension of being a provincial artist, attuned to transnational cultural flows, yet challenged by the limitations of his environment.

  • European Symbolism Transformed: The Case of Poland

    Author:
    Lillian Orenduff-Bartos
    Year of Dissertation:
    2011
    Program:
    Art History
    Advisor:
    Emily Braun
    Abstract:

    This dissertation examines the intersection of concepts of nationalism and identity in Polish Symbolist painting in the late nineteenth and early twentieth centuries. It argues that characteristics of the Symbolist mode in painting, such as formal distortion and ambiguity, mysticism and pessimism, were ideally suited for the expression of complex ideas about nationhood and identity in Polish territory. These ideas related to the status of the Polish nation as a politically subjugate entity, as well as the newly contested status of the individual artist as spokesperson for the nation. The dissertation argues that Symbolist painters forged a compromise in their work between the demands of tradition and modernity by investing well-worn themes and motifs with new, more nuanced meanings. In so doing, they perfectly articulated the state of cultural and political suspension particular to the Polish situation. The dissertation makes comparisons between examples of Symbolist painting in Poland and that of selected Western European cities. An examination of similar themes and motifs across cultural borders demonstrates the impact of their transpositions to the Polish context. The dissertation also examines the influence of Symbolism on the Sztuka group, the preeminent modernist artists' organization of the period. It argues that Symbolism represented a crucial component of Sztuka's understanding of itself and its profile in a local and international context. Finally, the dissertation examines in detail the work of two Symbolist painters, Jacek Malczewski and Jan Stanisławski, against the backdrop of traditional scholarly categorizations of Symbolist painting into synthetism and thought-painting. It asserts that the mix of characteristics and strategies in these artists' work problematizes this categorization and encourages a reshaping of the scholarly discourse on Symbolism.

  • The Church and Convento of Santo Domingo Yanhuitlan, Oaxaca: Art, Politics, and Religion in a Mixtec Village, Sixteenth through Eighteenth Centuries

    Author:
    Alessia Frassani
    Year of Dissertation:
    2009
    Program:
    Art History
    Advisor:
    Eloise Quiñones Keber
    Abstract:

    The mission-building campaign undertaken in the Americas in the years following the Spanish conquest (1521-1546) is the largest and most ambitious evangelical and artistic enterprise in the history of the Catholic Church. In the span of just a few decades, Spanish mendicant friars, at the head of the missionary efforts, established hundreds of conventos (missions) in both colonial cities and provinces. These institutions did not merely accommodate friars. Planned to carry out doctrinal, educational, and liturgical activities, they soon became booming economic and cultural centers. This dissertation focuses on the convento in the Mixtec town of Yanhuitlan in Oaxaca, southwestern Mexico, and is the first to provide a comprehensive study of a mission and its historical development. Previous art historical scholarship has usually granted separate attention to the architecture, painting, and sculpture of the Mexican missions, overrating formal qualities and neglecting the fact that all aspects of the convento were part of the same larger artistic and religious program. The sixteenth-century missionary complex consists of the main church, adjoining cloister, and residential and working areas; it houses several colonial altarpieces and a collection of wooden polychrome sculptures. It was the most important artistic enterprise undertaken in Yanhuitlan in the early decades after the conquest and has remained since then the main focus of artistic and religious activities. First, the alliance of Mixtec leaders with Dominican friars and Spanish authorities made possible the erection of the mission, which became a powerful statement of the new hegemonic status of Yanhuitlan in the region. In the following centuries, activities of the confraternities became the most important impulse of art patronage. Spanish in origin, these institutions became gradually independent from the local parish and colonial authorities, filling the vacuum left by a waning traditional leadership. My dissertation integrates on-site investigation and archival and ethnographic research to address the various strategies of appropriation, manipulation, and display of Spanish, Mixtec, and hybrid art forms in the context of political colonization and religious evangelization.

  • The Legacy of Constructivism in Poland: Geometric Abstraction Before and Behind the Iron Curtain

    Author:
    Karolina Kawalko
    Year of Dissertation:
    2009
    Program:
    Art History
    Advisor:
    Rose Carol Washton Long
    Abstract:

    This dissertation situates the legacy of Constructivism in Polish painting during the 1920s and in the mid-1950s, both before and behind the Iron Curtain. The material and ideological conditions of geometric abstract art are examined within the context of the East and West and across the pre- and postwar divide. I address the troubled reception of Constructivism through the prism of the artist Henryk Stazewski (1894-1988), one of the key contributors to the history of Polish art before and after World War II. If during the prewar years Stażewski attempted to invest painting with collective, universal, and international force, in the postwar period he choreographed the process of reception by exhibiting his works at home. I argue that Stazewski was aware of the ambivalent status and depoliticization of geometric art rooted in Constructivist aesthetic, and wanted to restore its socially constructive and political dimension by - paradoxically - isolating himself in an already isolated state. While geometric abstract art can be defined and interpreted in many different ways, I examine it in Eastern Europe's specific historical circumstances and anlayze how it became a symbol of resistance and dissent against totalitarian regime. Since abstract art was perceived as "autonomous," and thus unrelated to contemporary social and political events, geometric abstraction, in contrast to the politically engaged Socialist Realism, signified not only a certain kind of freedom but also political opposition during the years of Stalinism. Despite the official hostility and frequent critical denunciation of geometric abstraction as both outmoded and apolitical, this art was in fact a powerful vehicle for affecting political change.