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University of Texas – Austin
1.
Kottke, Ingrid Grace.
Games of paint and print : strategies of juxtaposition in the Hours of Charles d’Angoulême.
Degree: MA, Art History, 2020, University of Texas – Austin
URL: http://dx.doi.org/10.26153/tsw/10175 
► Dating to the early 1480s, the Hours of Charles d’Angoulême (Bibliothèque Nationale de France, Paris, ms. Latin 1173) stands as a notable venue for imaginative…
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▼ Dating to the early 1480s, the Hours of Charles d’Angoulême (Bibliothèque Nationale de France, Paris, ms. Latin 1173) stands as a notable venue for imaginative engagement between painter and reader. A hybrid volume, it integrates prints and print imagery into the painted world of the manuscript, often through humorous or inventive means. The book is attributed to Robinet Testard (active c. 1471-1531), court illuminator to Charles d’Angoulême (1459-96), a Valois noble of the Orléans branch, best-known as the father of François I. It contains forty-three compositions directly derived from prints, sixteen of which are actual engravings glued directly onto the vellum and overpainted. Although on certain pages, Testard’s adaptation of print is direct, the artist frequently engages in some degree of alteration–from slight embellishment to almost total reinterpretation. He employed contemporary German and Netherlandish prints, especially those by Israhel van Meckenem. The manner in which Testard’s pairing of paint and print affects viewing experience merits thorough exploration. Print-derived couplings and oppositions, cast through motifs of courting and quarrel or wilderness and cultivation, recur consistently throughout the volume, often within the same miniature or figural pairing. I concentrate on these patterns of accord and discord throughout the volume as they relate to audience engagement, focusing particularly depictions of seasonality and the pastoral. In the manuscript’s calendar sequence, Testard’s inclusion and seasonalization of satirical love and battle scenes may have been intended to surprise and amuse his patron who, as scion of aristocratic bookworms, would be familiar with calendrical tropes. Elsewhere, full-page miniatures demonstrate further his strategies of creative selection and juxtaposition. I explore the extent to which the tragic wild couple of the Office of the Dead miniature and the ludic herders of the Annunciation to the Shepherds reshape northern print motifs to the nostalgic pastoral tastes of the French court
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor).
Subjects/Keywords: Book of hours; Cognac; Robinet Testard; Manuscript illumination; Early print culture; Book culture; Late medieval France
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APA (6th Edition):
Kottke, I. G. (2020). Games of paint and print : strategies of juxtaposition in the Hours of Charles d’Angoulême. (Masters Thesis). University of Texas – Austin. Retrieved from http://dx.doi.org/10.26153/tsw/10175
Chicago Manual of Style (16th Edition):
Kottke, Ingrid Grace. “Games of paint and print : strategies of juxtaposition in the Hours of Charles d’Angoulême.” 2020. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://dx.doi.org/10.26153/tsw/10175.
MLA Handbook (7th Edition):
Kottke, Ingrid Grace. “Games of paint and print : strategies of juxtaposition in the Hours of Charles d’Angoulême.” 2020. Web. 24 Jan 2021.
Vancouver:
Kottke IG. Games of paint and print : strategies of juxtaposition in the Hours of Charles d’Angoulême. [Internet] [Masters thesis]. University of Texas – Austin; 2020. [cited 2021 Jan 24].
Available from: http://dx.doi.org/10.26153/tsw/10175.
Council of Science Editors:
Kottke IG. Games of paint and print : strategies of juxtaposition in the Hours of Charles d’Angoulême. [Masters Thesis]. University of Texas – Austin; 2020. Available from: http://dx.doi.org/10.26153/tsw/10175
University of Texas – Austin
2.
-0536-1393.
Flexible fashion : a precious girdle book at the Tudor Court.
Degree: MA, Art History, 2019, University of Texas – Austin
URL: http://dx.doi.org/10.26153/tsw/2226
► This thesis attempts to construct an understanding of a sixteenth-century girdle book now held at the British Museum in London. With the exception of a…
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▼ This thesis attempts to construct an understanding of a sixteenth-century girdle book now held at the British Museum in London. With the exception of a few articles and catalog entries, primarily written by the British scholar Hugh Tait, the Tudor Girdle Book has received very little attention by art historians. It is one of a handful of examples of sixteenth-century precious girdle books, a unique decorative object used exclusively by European noblewomen during the Renaissance. Despite its relative obscurity, I argue that the Tudor Girdle Book offers insights into life at the Tudor court in the 1540s, particularly the role of women in the English Reformation. Furthermore, the replacement interior text, a set of prayers written by Elizabeth Tyrwhit and inserted in the 1570s, indicates a revival interest during the reign of Elizabeth I in the reformist women who surrounded Henry VIII’s last queen, Katherine Parr. Using existing scholarship on the history of the book and women's fashion, along with portraits, inventories, letters, and other extant bindings, I examine how this girdle book, like a court lady, was designed to navigate the precarious experience of Henry's court. The Tudor Girdle Book was a fashionable item, but flexible enough to withstand the whims of the changing English state
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor).
Subjects/Keywords: Precious girdle book; Treasure binding; Pendant; Pendant binding; History of the book; Tablet; Tablett; Tudor; Henry VIII; Anne Boleyn; Katherine Parr; Anne Askew; Catherine of Aragon; Catherine Parr; Katherine of Aragon; Kateryn Parr; Medieval girdle book; Leather girdle book; Jewelry pendant; Renaissance jewelry; Tudor jewelry; Elizabeth I; Elizabeth Tyrwhit; Elizabeth Oxenbridge Tyrwhit; Elizabeth Tirwhit
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APA (6th Edition):
-0536-1393. (2019). Flexible fashion : a precious girdle book at the Tudor Court. (Masters Thesis). University of Texas – Austin. Retrieved from http://dx.doi.org/10.26153/tsw/2226
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Chicago Manual of Style (16th Edition):
-0536-1393. “Flexible fashion : a precious girdle book at the Tudor Court.” 2019. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://dx.doi.org/10.26153/tsw/2226.
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
MLA Handbook (7th Edition):
-0536-1393. “Flexible fashion : a precious girdle book at the Tudor Court.” 2019. Web. 24 Jan 2021.
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Vancouver:
-0536-1393. Flexible fashion : a precious girdle book at the Tudor Court. [Internet] [Masters thesis]. University of Texas – Austin; 2019. [cited 2021 Jan 24].
Available from: http://dx.doi.org/10.26153/tsw/2226.
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Council of Science Editors:
-0536-1393. Flexible fashion : a precious girdle book at the Tudor Court. [Masters Thesis]. University of Texas – Austin; 2019. Available from: http://dx.doi.org/10.26153/tsw/2226
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
University of Texas – Austin
3.
Ray, Arianna Nicole.
The path to virtue : Rembrandt’s Jerome as repentant sinner and scholar.
Degree: MA, Art History, 2019, University of Texas – Austin
URL: http://dx.doi.org/10.26153/tsw/3000
► Over the course of his career, the artist Rembrandt van Rijn produced eight prints depicting St. Jerome, a fourth-century ascetic and theologian. In this thesis,…
(more)
▼ Over the course of his career, the artist Rembrandt van Rijn produced eight prints depicting St. Jerome, a fourth-century ascetic and theologian. In this thesis, I examine why Rembrandt chose Jerome to represent so often in print and in what ways the saint’s imagery and iconography was adapted to reflect seventeenth-century Dutch culture and values. Rembrandt’s prints of Jerome can be divided into two even groups, with four etchings of the saint as repentant sinner and four of the saint as scholar. In the prints of the repentant Jerome, I argue that Rembrandt focuses on the act of prayer and quiet contemplation to align with Protestant ideas of penitence. In this way, Rembrandt reflects a Protestant version of asceticism that could be used to model prayer and penitence in the daily life of Dutch citizens worried for the fate of their souls. One of these four prints of Jerome in penitence was produced in collaboration with a printmaker, Jan van Vliet. With this print, I analyze the practical reasons surrounding Rembrandt’s production and posit that his collaboration with Van Vliet broadly and the prints of Jerome specifically were meant to advertise his skill, attract patrons, and attain success on the market. I lastly discuss Rembrandt’s four prints of Jerome as scholar and view them through the lens of Christian humanism and intellectual culture prevalent in the Dutch Republic during this time. Jerome’s status as patron saint of scholars and advocate for the study of languages and primacy of the original Word resonated with Protestant thinkers of the early modern era. The characterization of Jerome’s scholarship again aligned with a newly developing form of asceticism that focused on virtue and engagement with God. This thesis argues that all eight prints of Jerome in his dual guises as sinner and scholar reveal Rembrandt’s construction of the saint as an ideal of religious devotion. In these prints, Jerome’s penitence and scholarship both provide a model for the path to virtue as believers sought a way to be reassured of their salvation and lead a life of pious humility.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor).
Subjects/Keywords: Rembrandt; Jerome; Religion; Dutch Golden Age
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APA (6th Edition):
Ray, A. N. (2019). The path to virtue : Rembrandt’s Jerome as repentant sinner and scholar. (Masters Thesis). University of Texas – Austin. Retrieved from http://dx.doi.org/10.26153/tsw/3000
Chicago Manual of Style (16th Edition):
Ray, Arianna Nicole. “The path to virtue : Rembrandt’s Jerome as repentant sinner and scholar.” 2019. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://dx.doi.org/10.26153/tsw/3000.
MLA Handbook (7th Edition):
Ray, Arianna Nicole. “The path to virtue : Rembrandt’s Jerome as repentant sinner and scholar.” 2019. Web. 24 Jan 2021.
Vancouver:
Ray AN. The path to virtue : Rembrandt’s Jerome as repentant sinner and scholar. [Internet] [Masters thesis]. University of Texas – Austin; 2019. [cited 2021 Jan 24].
Available from: http://dx.doi.org/10.26153/tsw/3000.
Council of Science Editors:
Ray AN. The path to virtue : Rembrandt’s Jerome as repentant sinner and scholar. [Masters Thesis]. University of Texas – Austin; 2019. Available from: http://dx.doi.org/10.26153/tsw/3000
4.
-6141-2151.
Mayken Verhulst : a professional woman painter and print publisher in the sixteenth-century Low Countries.
Degree: MA, Art History, 2019, University of Texas – Austin
URL: http://dx.doi.org/10.26153/tsw/2225
► Throughout the course of her impressively long eighty-year life, the painter and print publisher Mayken Verhulst was more than a passive witness to the creation…
(more)
▼ Throughout the course of her impressively long eighty-year life, the painter and print
publisher Mayken Verhulst was more than a passive witness to the creation of art by her famous male relatives: her father, Peeter Verhulst, her husband, Pieter Coecke van Aelst, her son-in-law, Pieter Bruegel the Elder, and her grandsons, Pieter Brueghel the Younger and Jan Brueghel. She was, instead, an active participant in multiple workshops as well as in professional networks of artists and printers in Mechelen, Antwerp, and Brussels. While we are faced today with a dearth of surviving artworks produced by Mayken Verhulst, her legacy nevertheless merits exploration. Verhulst’s actions in the art world were largely shaped by her familial identity, as it was a determining factor in both the responsibilities and access accorded to her. Her artistic contributions corresponded to shifts in her role from daughter to wife to mother (in-law) to grandmother. This thesis utilizes this infrastructure as the basis of its organization, enabling a confrontation of the socio-historical conditions within which Verhulst operated. In her father’s workshop, she would have primarily been a pupil, while in her husband’s atelier, she was likely a partner whose contributions had a greater impact on the success of the business. In her roles as mother-in-law and grandmother, Mayken became a teacher, instructing these subsequent generations in painting. Verhulst’s legacy as a print
publisher, in particular, is an important part of her story, as it not only spanned two decades of her life, but also provides the only surviving artistic products that can be definitively traced back to the artist. Explorations of her style and practice as a painter will be presented in dialogue with the media produced in the workshops of her male relatives. Finally, this thesis will rely on an examination of legal and real estate documents in Mechelen and Antwerp that together form a clearer picture of her career trajectory as well as of her economic and professional success
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor).
Subjects/Keywords: Low Countries; Netherlands; Women painters; Women printers; Women print publishers; Feminists; Early Modern painting; Renaissance painting; Painter workshops; Pieter Coecke van Aelst; Pieter Bruegel; Jan Brueghel; Pieter Brueghel the Younger; Mechelen; Brussels; Antwerp
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APA (6th Edition):
-6141-2151. (2019). Mayken Verhulst : a professional woman painter and print publisher in the sixteenth-century Low Countries. (Masters Thesis). University of Texas – Austin. Retrieved from http://dx.doi.org/10.26153/tsw/2225
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Chicago Manual of Style (16th Edition):
-6141-2151. “Mayken Verhulst : a professional woman painter and print publisher in the sixteenth-century Low Countries.” 2019. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://dx.doi.org/10.26153/tsw/2225.
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
MLA Handbook (7th Edition):
-6141-2151. “Mayken Verhulst : a professional woman painter and print publisher in the sixteenth-century Low Countries.” 2019. Web. 24 Jan 2021.
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Vancouver:
-6141-2151. Mayken Verhulst : a professional woman painter and print publisher in the sixteenth-century Low Countries. [Internet] [Masters thesis]. University of Texas – Austin; 2019. [cited 2021 Jan 24].
Available from: http://dx.doi.org/10.26153/tsw/2225.
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Council of Science Editors:
-6141-2151. Mayken Verhulst : a professional woman painter and print publisher in the sixteenth-century Low Countries. [Masters Thesis]. University of Texas – Austin; 2019. Available from: http://dx.doi.org/10.26153/tsw/2225
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
5.
Ingersoll, Catharine Clarke.
Hans Wertinger in context : art, politics, and humanism at the court of Ludwig X, Duke of Bavaria.
Degree: PhD, Art History, 2014, University of Texas – Austin
URL: http://hdl.handle.net/2152/26866
► The German Renaissance artist Hans Wertinger (c. 1465/70-1533) was a prolific master who worked in a variety of artistic media and oversaw a large atelier…
(more)
▼ The German Renaissance artist Hans Wertinger (c. 1465/70-1533) was a prolific master who worked in a variety of artistic media and oversaw a large atelier during his mature years. In 1516, Wertinger completed his first commission for Ludwig X (1495-1545), Duke of Bavaria, newly resident in Landshut. Two years later, Wertinger was named Ludwig’s court painter. The artist’s interaction with the Wittelsbach court, including its scholars, during these and subsequent years inspired many of his most innovative artworks. Wertinger painted portraits of the duke that addressed Ludwig’s conceits and conveyed his political and religious authority. He also collaborated with one of Ludwig’s advisors, the humanist scholar Dietrich von Plieningen, on book illustrations and a history painting with themes related to the classical past. As befitted Wertinger’s position as court painter, he provided a wide variety of decorations for Ludwig’s palace at Burg Trausnitz; these illustrate and elucidate the space of rulership. Wertinger’s success as a court painter is a testament to his versatility and innovation, as he created diverse artworks that both reflected and contributed to the broader culture of the Landshut court.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor).
Subjects/Keywords: Renaissance Art
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APA (6th Edition):
Ingersoll, C. C. (2014). Hans Wertinger in context : art, politics, and humanism at the court of Ludwig X, Duke of Bavaria. (Doctoral Dissertation). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/26866
Chicago Manual of Style (16th Edition):
Ingersoll, Catharine Clarke. “Hans Wertinger in context : art, politics, and humanism at the court of Ludwig X, Duke of Bavaria.” 2014. Doctoral Dissertation, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/26866.
MLA Handbook (7th Edition):
Ingersoll, Catharine Clarke. “Hans Wertinger in context : art, politics, and humanism at the court of Ludwig X, Duke of Bavaria.” 2014. Web. 24 Jan 2021.
Vancouver:
Ingersoll CC. Hans Wertinger in context : art, politics, and humanism at the court of Ludwig X, Duke of Bavaria. [Internet] [Doctoral dissertation]. University of Texas – Austin; 2014. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/26866.
Council of Science Editors:
Ingersoll CC. Hans Wertinger in context : art, politics, and humanism at the court of Ludwig X, Duke of Bavaria. [Doctoral Dissertation]. University of Texas – Austin; 2014. Available from: http://hdl.handle.net/2152/26866
6.
Cordeiro, Catherine Victoria.
Bernard Van Orley’s tapestry designs for The story of Romulus and Remus, 1524.
Degree: MA, Art History, 2013, University of Texas – Austin
URL: http://hdl.handle.net/2152/22301
► Bernard Van Orley’s 1524 preparatory drawings for tapestries depicting The Story of Romulus and Remus have, until now, been largely ignored by art historical scholarship.…
(more)
▼ Bernard Van Orley’s 1524 preparatory drawings for tapestries depicting The Story of Romulus and Remus have, until now, been largely ignored by art historical scholarship. The only signed and dated drawings in the artist’s oeuvre, they serve as a valuable tool for establishing a system of attribution for Van Orley’s work, particularly in tapestry. Van Orley was the leading tapestry designer in Brussels during the first few decades of the sixteenth century. He was the official court painter to Margaret of Austria and enjoyed a continuous stream of high-end commissions, which he used to experiment with new techniques in representation and compositional arrangement. Van Orley’s career thus exemplifies the significant changes in Flemish tapestry production that occurred during this time.
This study examines all aspects of the drawings’ creation from their commission to their possible application in the weaving process. There is no surviving documentation regarding the commission for the project. A tentative case is made here for Margaret of Austria as the patron, working on behalf of her nephew, Charles V. The choice of subject and narrative treatment are considered in the context of the rising popularity of classical themes during the Renaissance. Stylistically, the drawings represent the moment of convergence of artistic influences on Van Orley from his contemporaries in both Italy and the North. From its origins through the late fifteenth century, tapestry was intended as a two-dimensional decorative wall hanging. Van Orley’s development of a distinct Brussels style blurred the distinctions between the viewer’s space and the narrative image. This new concept extended both the width and depth of space in tapestry and lent itself well to dramatic historiated designs that rivaled developments in contemporary painting. The drawings represent a definitive design stage within the complicated, multi-step collaborative process of Brussels tapestry production. The fact that they survive in such good condition is evidence of their importance as possible workshop models and later on as collectible works of art.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor).
Subjects/Keywords: Renaissance tapestry; Bernard Van Orley; Brussels tapestry
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APA (6th Edition):
Cordeiro, C. V. (2013). Bernard Van Orley’s tapestry designs for The story of Romulus and Remus, 1524. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/22301
Chicago Manual of Style (16th Edition):
Cordeiro, Catherine Victoria. “Bernard Van Orley’s tapestry designs for The story of Romulus and Remus, 1524.” 2013. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/22301.
MLA Handbook (7th Edition):
Cordeiro, Catherine Victoria. “Bernard Van Orley’s tapestry designs for The story of Romulus and Remus, 1524.” 2013. Web. 24 Jan 2021.
Vancouver:
Cordeiro CV. Bernard Van Orley’s tapestry designs for The story of Romulus and Remus, 1524. [Internet] [Masters thesis]. University of Texas – Austin; 2013. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/22301.
Council of Science Editors:
Cordeiro CV. Bernard Van Orley’s tapestry designs for The story of Romulus and Remus, 1524. [Masters Thesis]. University of Texas – Austin; 2013. Available from: http://hdl.handle.net/2152/22301
7.
Grimmett, Kendra Jo.
Woman on top: interpreting Barthel Beham’s Judith Seated on the Body of Holofernes.
Degree: MA, Art History, 2014, University of Texas – Austin
URL: http://hdl.handle.net/2152/25827
► At no point in the apocryphal text does Judith, a wise and beautiful Jewish widow, sit on Holofernes, the Assyrian general laying siege to her…
(more)
▼ At no point in the apocryphal text does Judith, a wise and beautiful Jewish widow, sit on Holofernes, the Assyrian general laying siege to her city. Yet, in 1525, Barthel Beham, a young artist from Nuremberg, created Judith Seated on the Body of Holofernes, an engraving in which a voluptuous nude Judith sits atop Holofernes’s nude torso. Neither the textual nor the visual traditions explain Beham’s choice to perch the chaste woman on top of her slain enemy, so what sources inspired the printmaker? What is the meaning of Judith’s provocative position?
The tiny printed image depicts the relationship between a male figure and a female figure. Thus, in order to appreciate the complexity of that relationship, I begin this thesis by reviewing what it meant to be a man and what it meant to be a woman in early sixteenth-century Germany. Because gender roles and the dynamics between the sexes were so complex, I encourage scholars to reevaluate Weibermacht (Power of Women) imagery.
The nudity of Beham’s Judith and her intimate proximity to Holofernes suggest that Judith Seated on the Body of Holofernes is a Weibermacht print. In fact, Judith’s pose specifically echoes that of Phyllis riding Aristotle, a popular Weibermacht narrative. The combined eroticism of Judith’s exposed body and her compromising position would have appealed broadly to male viewers, but Beham likely targeted an erudite audience of well-educated, affluent men when he designed the multivalent print.
Through close visual analysis and careful consideration of which prints circulated in early sixteenth-century Nuremberg, I argue that Beham’s Judith resembles witches riding backwards on goats, crouching Venuses, and a woman in the “reverse-cowgirl” sex position. Admittedly, it is impossible to know which sources Beham studied in preparation for Judith Seated on the Body of Holofernes, but I am inclined to believe that he wanted each of those jocular references to enrich the meaning of his work, providing a witty commentary on the power of women. But regardless of the artist’s intentionality, I think visually literate viewers would have recognized and enjoyed decoding the layers of meaning in Beham’s odd engraving.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor).
Subjects/Keywords: Judith; Holofernes; Barthel Beham; Little masters; Power of Women; Weibermacht; Sixteenth-century; German; Print; Phyllis; Witch; Venus; I Modi; Erotic art; Sex
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APA (6th Edition):
Grimmett, K. J. (2014). Woman on top: interpreting Barthel Beham’s Judith Seated on the Body of Holofernes. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/25827
Chicago Manual of Style (16th Edition):
Grimmett, Kendra Jo. “Woman on top: interpreting Barthel Beham’s Judith Seated on the Body of Holofernes.” 2014. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/25827.
MLA Handbook (7th Edition):
Grimmett, Kendra Jo. “Woman on top: interpreting Barthel Beham’s Judith Seated on the Body of Holofernes.” 2014. Web. 24 Jan 2021.
Vancouver:
Grimmett KJ. Woman on top: interpreting Barthel Beham’s Judith Seated on the Body of Holofernes. [Internet] [Masters thesis]. University of Texas – Austin; 2014. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/25827.
Council of Science Editors:
Grimmett KJ. Woman on top: interpreting Barthel Beham’s Judith Seated on the Body of Holofernes. [Masters Thesis]. University of Texas – Austin; 2014. Available from: http://hdl.handle.net/2152/25827
8.
Sharrard, Katherine Ann.
The intersection of political aspirations and architecture in the funerary chapel of Tamás Bakócz.
Degree: MA, Art History, 2012, University of Texas – Austin
URL: http://hdl.handle.net/2152/15900
► The Bakócz Chapel at St. Adalbert's Cathedral in Esztergom represents the vision of the powerful politician and patron of the arts, Tamás Bakócz. Built between…
(more)
▼ The Bakócz Chapel at St. Adalbert's Cathedral in Esztergom represents the vision of the powerful politician and patron of the arts, Tamás Bakócz. Built between 1506 and 1519, the chapel was unique in Hungary at the time for its strict adherence to Italian Renaissance forms. Although it was King Matthias Corvinus (1458-1490) who first brought all'antica architecture to Hungary, its influence was not widespread. New structures continued to be built with a mix of gothic and renaissance forms into the sixteenth century. Instead of reflecting contemporary Hungarian architecture, the Bakócz Chapel is a successor to late fifteenth-century Florentine chapels. Cardinal Tamás Bakócz was Archbishop of Esztergom, head of the royal chancellery, and controlled Hungarian foreign affairs in the early sixteenth century. The king, Vladislav II (1491-1516) was heavily influenced by his advisors, and Bakócz was his principal counselor. In 1506, when Bakócz began construction on the chapel, he was at the height of his power and aspired to become pope. As his rise from outside the aristocracy to his position as the right-hand of the King demonstrates, Bakócz was politically savvy and extremely ambitious. As he hired architects and craftsmen for his chapel, he had them create a monument that would be a lasting symbol of his wealth, power, and erudition. But Bakócz very specifically did this in a manner that was entirely unlike anything else in Hungary at the time. In the building that was designed to house his remains and be his memorial, Bakócz made the conscious decision to associate himself with Italy.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor).
Subjects/Keywords: Hungary; Renaissance; Chapel; Tamas Bakocz; Matthias; Andrea Ferrucci; Florence; Architecture
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APA (6th Edition):
Sharrard, K. A. (2012). The intersection of political aspirations and architecture in the funerary chapel of Tamás Bakócz. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/15900
Chicago Manual of Style (16th Edition):
Sharrard, Katherine Ann. “The intersection of political aspirations and architecture in the funerary chapel of Tamás Bakócz.” 2012. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/15900.
MLA Handbook (7th Edition):
Sharrard, Katherine Ann. “The intersection of political aspirations and architecture in the funerary chapel of Tamás Bakócz.” 2012. Web. 24 Jan 2021.
Vancouver:
Sharrard KA. The intersection of political aspirations and architecture in the funerary chapel of Tamás Bakócz. [Internet] [Masters thesis]. University of Texas – Austin; 2012. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/15900.
Council of Science Editors:
Sharrard KA. The intersection of political aspirations and architecture in the funerary chapel of Tamás Bakócz. [Masters Thesis]. University of Texas – Austin; 2012. Available from: http://hdl.handle.net/2152/15900
9.
Zeldin, Natalie.
Performing touch in the Frick Self-portrait (1658) : an examination of the ruwe manier in late Rembrandt.
Degree: MA, Art History, 2013, University of Texas – Austin
URL: http://hdl.handle.net/2152/22323
► Ruwe manier describes loose painting, characterized by visible brushwork that is casually or even crudely exposed. Although Rembrandt did not invent ruwe manier, his late…
(more)
▼ Ruwe manier describes loose painting, characterized by visible brushwork that is casually or even crudely exposed. Although Rembrandt did not invent ruwe manier, his late style is practically synonymous with highly developed surface texture. The goal of this study is to help develop historical context for understanding Rembrandt’s characteristic approach to thick paint, as well as to attempt to locate what is so distinctive about Rembrandt’s expressive brushwork. The ruwe manier is particularly prominent in Rembrandt’s 1658 Self-Portrait housed in the Frick Collection in New York City. The Frick Self-Portrait thus operates as a case study and as a point of departure from which to discuss notions of the rough manner in this period. Through detailed formal analysis and primary texts, I propose how the emotional impact of impasto, as understood in Rembrandt’s time, might have served as motivation for Rembrandt’s painting approach in his later years. In the last section, I apply these discussions about Rembrandt’s ruwe manier to a current neuroscience research about visual and tactile perception. This final, exploratory chapter is more of an inquiry of neuroaesthetic methodology than of Rembrandt’s painting. I ultimately suggest that the assertion of self is manifest not only in the Rembrandt’s presentation of himself as a subject, but also as it is imbued on a conscious and fundamental level—in the very tactility of the paint itself.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor).
Subjects/Keywords: Rembrandt; Ruwe manier; Rough manner; Materiality; Neuroaesthetics; Textured paint
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APA (6th Edition):
Zeldin, N. (2013). Performing touch in the Frick Self-portrait (1658) : an examination of the ruwe manier in late Rembrandt. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/22323
Chicago Manual of Style (16th Edition):
Zeldin, Natalie. “Performing touch in the Frick Self-portrait (1658) : an examination of the ruwe manier in late Rembrandt.” 2013. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/22323.
MLA Handbook (7th Edition):
Zeldin, Natalie. “Performing touch in the Frick Self-portrait (1658) : an examination of the ruwe manier in late Rembrandt.” 2013. Web. 24 Jan 2021.
Vancouver:
Zeldin N. Performing touch in the Frick Self-portrait (1658) : an examination of the ruwe manier in late Rembrandt. [Internet] [Masters thesis]. University of Texas – Austin; 2013. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/22323.
Council of Science Editors:
Zeldin N. Performing touch in the Frick Self-portrait (1658) : an examination of the ruwe manier in late Rembrandt. [Masters Thesis]. University of Texas – Austin; 2013. Available from: http://hdl.handle.net/2152/22323
University of Texas – Austin
10.
Srsic, Elizabeth C.
On female witches and woodcuts : Ulrich Molitor’s De lamiis et pythonicis mulieribus.
Degree: MA, Art history, 2016, University of Texas – Austin
URL: http://hdl.handle.net/2152/42006
► The present Master’s thesis seeks to develop a better understanding of two influential series of witchcraft prints and drawings: the woodcuts of Ulrich Molitor’s De…
(more)
▼ The present Master’s thesis seeks to develop a better understanding of two influential series of witchcraft prints and drawings: the woodcuts of Ulrich Molitor’s De lamiis et pythonicis mulieribus and three of Hans Baldung’s works. I will begin with a discussion of the role that gender played during the witch trials and how it influenced two of the woodcuts in De lamiis. Following the discussion of gender, I will examine the remaining De lamiis woodcuts in the context of the text and other visual sources. Finally, I will end with three of Hans Baldung’s witchcraft images, describing how they reflected and expanded established motifs.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor), Holladay, Joan A (committee member).
Subjects/Keywords: Art history; Print; Woodcuts; Witches; Women; Early modern; Molitor; Baldung
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APA (6th Edition):
Srsic, E. C. (2016). On female witches and woodcuts : Ulrich Molitor’s De lamiis et pythonicis mulieribus. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/42006
Chicago Manual of Style (16th Edition):
Srsic, Elizabeth C. “On female witches and woodcuts : Ulrich Molitor’s De lamiis et pythonicis mulieribus.” 2016. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/42006.
MLA Handbook (7th Edition):
Srsic, Elizabeth C. “On female witches and woodcuts : Ulrich Molitor’s De lamiis et pythonicis mulieribus.” 2016. Web. 24 Jan 2021.
Vancouver:
Srsic EC. On female witches and woodcuts : Ulrich Molitor’s De lamiis et pythonicis mulieribus. [Internet] [Masters thesis]. University of Texas – Austin; 2016. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/42006.
Council of Science Editors:
Srsic EC. On female witches and woodcuts : Ulrich Molitor’s De lamiis et pythonicis mulieribus. [Masters Thesis]. University of Texas – Austin; 2016. Available from: http://hdl.handle.net/2152/42006
University of Texas – Austin
11.
Carlson, Alisa Louise McCusker.
Draftsmanship, social networking, and cultural history : the portrait drawings of Hans Holbein the Elder (ca. 1465-1524).
Degree: PhD, Art History, 2015, University of Texas – Austin
URL: http://hdl.handle.net/2152/39683
► Hans Holbein the Elder (ca. 1465-1524) was a successful and prolific painter and draftsman, who lived and worked mainly in the southern German city of…
(more)
▼ Hans Holbein the Elder (ca. 1465-1524) was a successful and prolific painter and draftsman, who lived and worked mainly in the southern German city of Augsburg. In addition to being master of a workshop that produced large-scale religious works, Holbein produced numerous drawings, of which over two hundred have been preserved from throughout his career. The vast majority of Holbein’s surviving drawings – about one hundred sixty – are portraits or head studies, originally made in silverpoint in small, portable sketchbooks. The quantity and medium of his drawings indicate that taking portraits was a habitual part of Holbein’s practice, if not a preoccupation for him. His portrait drawings depict a range of Augsburg’s populace, including men, women, and children, representing a variety of social classes and professions. On several drawings he even identified his sitters clearly with inscriptions of their names, ages, occupations, or other claims to fame. Collectively, they offer the artist’s perspective on the bustling urban center in which he lived and worked as well as suggest his place within that milieu. This dissertation examines Holbein’s portrait drawings in terms of their material and technical production as well as their potential historical, social, and cultural significance. This study describes the characteristics that typify Holbein’s portrait drawings and establishes standards for attributing works to him, his workshop, and others, as well as offers paleographical analysis of his drawings’ inscriptions. Because his portraits present so much textual information that has otherwise been overlooked, questions of who the people of Holbein’s portraits are and what their portrayals reveal about themselves and about the artist can be considered. Applying sociological theories of social capital and networking, this study proposes that Holbein’s portrait drawings survive as important records of his social network and reveal insights into his social experiences and practices. Holbein’s portrait drawings also offer numerous social and cultural cues through his depictions of the clothes and adornments of his sitters. Finally, this project considers Holbein’s legacy in European portraiture, especially as inherited by his more famous son, Hans Holbein the Younger (1497/98-1543).
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor), Hess, Peter (committee member), Holladay, Joan A (committee member), Morrall, Andrew (committee member), Waldman, Louis A (committee member).
Subjects/Keywords: Hans Holbein the Elder (ca. 1465-1524); Portraiture; Portrait drawings; Silverpoint; Augsburg; Social networking; Early modern fashion
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APA (6th Edition):
Carlson, A. L. M. (2015). Draftsmanship, social networking, and cultural history : the portrait drawings of Hans Holbein the Elder (ca. 1465-1524). (Doctoral Dissertation). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/39683
Chicago Manual of Style (16th Edition):
Carlson, Alisa Louise McCusker. “Draftsmanship, social networking, and cultural history : the portrait drawings of Hans Holbein the Elder (ca. 1465-1524).” 2015. Doctoral Dissertation, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/39683.
MLA Handbook (7th Edition):
Carlson, Alisa Louise McCusker. “Draftsmanship, social networking, and cultural history : the portrait drawings of Hans Holbein the Elder (ca. 1465-1524).” 2015. Web. 24 Jan 2021.
Vancouver:
Carlson ALM. Draftsmanship, social networking, and cultural history : the portrait drawings of Hans Holbein the Elder (ca. 1465-1524). [Internet] [Doctoral dissertation]. University of Texas – Austin; 2015. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/39683.
Council of Science Editors:
Carlson ALM. Draftsmanship, social networking, and cultural history : the portrait drawings of Hans Holbein the Elder (ca. 1465-1524). [Doctoral Dissertation]. University of Texas – Austin; 2015. Available from: http://hdl.handle.net/2152/39683
University of Texas – Austin
12.
Fetté, Mirka Campbell.
Saving political face : the structures of power in Hans von Aachen’s Allegories on the long Turkish war.
Degree: MA, Art History, 2011, University of Texas – Austin
URL: http://hdl.handle.net/2152/ETD-UT-2011-05-3218
► Hans von Aachen, court artist to the Habsburg Holy Roman Emperor Rudolf II in Prague, created a series of small painting called the Allegories on…
(more)
▼ Hans von Aachen, court artist to the Habsburg Holy Roman Emperor Rudolf II in Prague, created a series of small painting called the Allegories on the Long Turkish War. Von Aachen made the Allegories between 1604 and 1606 and Rudolf II kept them bound in a red book in his Kunstkammer. This series selects events and battles from the Long War against the Ottoman Empire, 1593-1606, to create a flattering propagandistic image of the emperor in order to strengthen his support. Rudolf’s brother, Archduke Matthias of Austria, began plotting against the emperor beginning in 1600. By 1606 he was actively usurping Rudolf’s political power. I examine von Aachen’s visual description of imperial power, the alternate history the Allegories present, and the ways they engage with Neo-Platonic theories to convey validity to viewers.
In my thesis, I outline the events of the Long War in order to compare them to von Aachen’s portrayals and to understand how he restructures chronological history to convey his message about Rudolf’s rulership. I briefly analyze each painting but I focus primarily on the eighth scene, the Conquest of Székesfehérvár. Sultan Mehmed III sits opposite Rudolf II in dignified defeat in this painting. I investigate the visual treatment of the sultan through the historical interactions between the Ottoman and Holy Roman Empires and propose the political function served by depicting him as a noble enemy. I finally discuss the way von Aachen uses symbols and allegory to convey a potent message and convince the viewer of its validity. Ultimately, these works should be seen as political propaganda used to combat Rudolf’s brother Archduke Matthias’ political takeover and not as Rudolf’s fantastical escapism from his losing battle against his brother.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor), Waldman, Louis A. (committee member), Mulder, Stephennie (committee member), Holliday, Joan A. (committee member), Guernsey, Julia (committee member).
Subjects/Keywords: Rudolf II; Hans von Aachen; Ottoman; Long War; Mannerism; Renaissance; Kunstkammer; Matthias; Holy Roman Empire; Hungary; Transylvania; Moldova; Romania; Wallachia; Hapsburg; Habsburg; Court art
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APA (6th Edition):
Fetté, M. C. (2011). Saving political face : the structures of power in Hans von Aachen’s Allegories on the long Turkish war. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/ETD-UT-2011-05-3218
Chicago Manual of Style (16th Edition):
Fetté, Mirka Campbell. “Saving political face : the structures of power in Hans von Aachen’s Allegories on the long Turkish war.” 2011. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/ETD-UT-2011-05-3218.
MLA Handbook (7th Edition):
Fetté, Mirka Campbell. “Saving political face : the structures of power in Hans von Aachen’s Allegories on the long Turkish war.” 2011. Web. 24 Jan 2021.
Vancouver:
Fetté MC. Saving political face : the structures of power in Hans von Aachen’s Allegories on the long Turkish war. [Internet] [Masters thesis]. University of Texas – Austin; 2011. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/ETD-UT-2011-05-3218.
Council of Science Editors:
Fetté MC. Saving political face : the structures of power in Hans von Aachen’s Allegories on the long Turkish war. [Masters Thesis]. University of Texas – Austin; 2011. Available from: http://hdl.handle.net/2152/ETD-UT-2011-05-3218
University of Texas – Austin
13.
Weiss, Jessica Sue.
Isabel of Castile, flemish aesthetics, and identity construction in the works of Juan de Flandes.
Degree: PhD, Northern Renaissance Art, 2014, University of Texas – Austin
URL: http://hdl.handle.net/2152/32900
► This dissertation explores how Isabel of Castile employed Flemish visual forms in the cultivation of both royal and personal identity through an analysis of the…
(more)
▼ This dissertation explores how Isabel of Castile employed Flemish visual forms in the cultivation of both royal and personal identity through an analysis of the paintings created by the Flemish artist Juan de Flandes (active 1496-1519) during his career in Spain. Isabel’s importation of a Northern European court artist to work within a Castilian milieu popularized a hybridized Hispano-Flemish visual style that concurrently facilitated the combined impressions of international sophistication and localized Iberian identity.
During his career at the Castilian court, Juan de Flandes created paintings that oscillated between the visual styles, compositional devices, and iconographies of his Flemish training and those of his adopted artistic environment. One is unable to organize his oeuvre into a teleological narrative, where early works conform to Netherlandish standards which then organically incorporate an increasing number of local Spanish idioms resulting in “late” pieces that more fully display Iberian aesthetics. This problematizes the interpretation of formal qualities in sixteenth-century painting as passive indicators of regional schools, individual artistic hands, and broad cultural phenomena.
By interpreting the paintings of Juan de Flandes within the context of Isabel’s self-fashioning as queen of Castile, I argue that aesthetics can also be understood as a facet of production that can be negotiated during the commission process and can communicate socio-political ideologies. Therefore, Isabel’s aesthetics as expressed in the works of Juan de Flandes what might be termed a proto-nationalistic awareness of a specifically “Castilian” visual identity, the manipulation of which coincides with her broader aims as ruler.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor), Cañizares-Esguerra, Jorge (committee member), Holladay, Joan A (committee member), Patton, Pamela (committee member), Waldman, Louis A (committee member).
Subjects/Keywords: Art patronage; Isabella I, Queen of Spain; Juan de Flandes; Panel painting
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APA (6th Edition):
Weiss, J. S. (2014). Isabel of Castile, flemish aesthetics, and identity construction in the works of Juan de Flandes. (Doctoral Dissertation). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/32900
Chicago Manual of Style (16th Edition):
Weiss, Jessica Sue. “Isabel of Castile, flemish aesthetics, and identity construction in the works of Juan de Flandes.” 2014. Doctoral Dissertation, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/32900.
MLA Handbook (7th Edition):
Weiss, Jessica Sue. “Isabel of Castile, flemish aesthetics, and identity construction in the works of Juan de Flandes.” 2014. Web. 24 Jan 2021.
Vancouver:
Weiss JS. Isabel of Castile, flemish aesthetics, and identity construction in the works of Juan de Flandes. [Internet] [Doctoral dissertation]. University of Texas – Austin; 2014. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/32900.
Council of Science Editors:
Weiss JS. Isabel of Castile, flemish aesthetics, and identity construction in the works of Juan de Flandes. [Doctoral Dissertation]. University of Texas – Austin; 2014. Available from: http://hdl.handle.net/2152/32900
14.
Chung, Jina.
Rembrandt redefined : making the “global artist" in seventeenth-century Amsterdam.
Degree: MA, Art History, 2011, University of Texas – Austin
URL: http://hdl.handle.net/2152/ETD-UT-2011-05-3570
► Rembrandt’s two dozen copies of Mughal paintings that he created between the years 1654 and 1660, remains an obscure collection of drawings within the artist’s…
(more)
▼ Rembrandt’s two dozen copies of Mughal paintings that he created between the years 1654 and 1660, remains an obscure collection of drawings within the artist’s extensive body of work. In the scholarship, these drawings are usually framed as his interest in costumes and gestures. This interpretation, however, does not fully take into account Rembrandt’s sensitivity towards cultural and religious tolerance, as exhibited in all aspects of his artistic practice. Prior to his Mughal drawings, Rembrandt already exhibited a curiosity for foreign peoples and places. As a resident of Amsterdam, the global epicenter of Europe, he took advantage of his cosmopolitan atmosphere by actively collecting objects from Asia and the New World brought in by the Dutch East India Company. His art, moreover, did not remain impervious to this dynamic and diverse environment, as evinced by the numerous drawings Rembrandt made to document the different sights and peoples that he encountered in the city.
His Mughal copies, moreover, do not resemble the sketches that scholars consider as exhibiting the artist’s curiosity for Oriental attire and distinct body language; instead, they closely parallel the kinds of drawings he made after works of art he found visually appealing. Rembrandt experimented with different kinds of lines and contours to imitate and adapt the Mughal style to diversify his artistic repertoire. His thoughtful engagement reveals that Rembrandt viewed Mughal art style as legitimate forms he could utilize to develop new compositions, or even to challenge and correct existing pictorial traditions. Rembrandt’s Mughal drawings, rather than being an obscure collection, demonstrate instead his unique ability to craft works of art to be reflective of his rich, diverse environment. This strong artistic desire for pictorial experimentation, in addition to his sensitivity for acute narrative interpretation, coalesces to form a more unified portrait of Rembrandt as an empathetic, albeit ambitious, artist.
Advisors/Committee Members: Leoshko, Janice (advisor), Smith, Jeffrey Chipps, 1951- (advisor), Mulder, Stephanie (committee member), Talbot, Cynthia (committee member), Guernsey, Julia (committee member).
Subjects/Keywords: Rembrandt van Rijn; Amsterdam; Mughal, India
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APA (6th Edition):
Chung, J. (2011). Rembrandt redefined : making the “global artist" in seventeenth-century Amsterdam. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/ETD-UT-2011-05-3570
Chicago Manual of Style (16th Edition):
Chung, Jina. “Rembrandt redefined : making the “global artist" in seventeenth-century Amsterdam.” 2011. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/ETD-UT-2011-05-3570.
MLA Handbook (7th Edition):
Chung, Jina. “Rembrandt redefined : making the “global artist" in seventeenth-century Amsterdam.” 2011. Web. 24 Jan 2021.
Vancouver:
Chung J. Rembrandt redefined : making the “global artist" in seventeenth-century Amsterdam. [Internet] [Masters thesis]. University of Texas – Austin; 2011. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/ETD-UT-2011-05-3570.
Council of Science Editors:
Chung J. Rembrandt redefined : making the “global artist" in seventeenth-century Amsterdam. [Masters Thesis]. University of Texas – Austin; 2011. Available from: http://hdl.handle.net/2152/ETD-UT-2011-05-3570
15.
Kearins, Colleen Mary.
Melody as metaphor in Gerrit van Honthorst's paintings of musicians.
Degree: MA, Art History, 2011, University of Texas – Austin
URL: http://hdl.handle.net/2152/ETD-UT-2011-08-4014
► In this thesis I examine the artistic contributions of Gerrit van Honthorst (1592-1656) to the sudden increase in the pictorial representation of musical subjects in…
(more)
▼ In this thesis I examine the artistic contributions of Gerrit van Honthorst (1592-1656) to the sudden increase in the pictorial representation of musical subjects in Utrecht during the 1620s. Like his contemporaries, Honthorst was profoundly influenced by the complex and dramatic style of Michelangelo Merisi da Caravaggio (1571-1610) during his studies in Italy, and he adopted the new Italianate interpretation of realism and chiaroscuro in his painting technique by the time he returned to Utrecht in 1620. However, Honthorst employed a strategy of representation that combined painterly techniques from the milieu of Italian art with subjects and themes from Netherlandish tradition, resulting in an innovative category of genre painting that was both familiar and new to the contemporary viewer. Through an analysis of a representative sample of Honthorst’s paintings of musicians and their relation to contemporary Dutch trends and interests, I consider how his works resonated with the aesthetic tastes of Northern patrons. I argue for the presence in Honthorst’s paintings of musicians of elements from contemporary Dutch culture, such as literary conventions, artistic tradition, and customs of musical performance, and I examine the ways in which these commonalities in ideology appealed to Northern audiences.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor), Waldman, Louis A. (committee member), Guernsey, Julia (committee member), Holladay, Joan A. (committee member), Dell'Antonio, Andrew (committee member).
Subjects/Keywords: Honthorst, Gerrit van; Dutch Baroque Art; Seventeenth century Dutch art; Utrecht Caravaggisti
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APA (6th Edition):
Kearins, C. M. (2011). Melody as metaphor in Gerrit van Honthorst's paintings of musicians. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/ETD-UT-2011-08-4014
Chicago Manual of Style (16th Edition):
Kearins, Colleen Mary. “Melody as metaphor in Gerrit van Honthorst's paintings of musicians.” 2011. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/ETD-UT-2011-08-4014.
MLA Handbook (7th Edition):
Kearins, Colleen Mary. “Melody as metaphor in Gerrit van Honthorst's paintings of musicians.” 2011. Web. 24 Jan 2021.
Vancouver:
Kearins CM. Melody as metaphor in Gerrit van Honthorst's paintings of musicians. [Internet] [Masters thesis]. University of Texas – Austin; 2011. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/ETD-UT-2011-08-4014.
Council of Science Editors:
Kearins CM. Melody as metaphor in Gerrit van Honthorst's paintings of musicians. [Masters Thesis]. University of Texas – Austin; 2011. Available from: http://hdl.handle.net/2152/ETD-UT-2011-08-4014
University of Texas – Austin
16.
Adams, Merchant Stewart, 1972-.
Sense and spirituality : seeing Jan van Eyck's Ghent altarpiece.
Degree: MA, Art History, 2009, University of Texas – Austin
URL: http://hdl.handle.net/2152/ETD-UT-2009-05-53
► This thesis emphasizes the senses of the audience in reception of Jan van Eyck’s heroic Ghent Altarpiece. This pivotal work may have demanded the viewer…
(more)
▼ This thesis emphasizes the senses of the audience in reception of Jan van Eyck’s heroic Ghent Altarpiece. This pivotal work may have demanded the viewer engage in a hierarchy of devotion ranging from intimate and private to public and liturgical. Jan van Eyck engages in a strategy of representation that focus and specify various aspects of vision to create a multivalent devotional experiences for the viewer. This thesis compares some of the visual uses of frames in miniatures and how they relate to altarpiece formats and hierarchies of vision. Reception of the Ghent Altarpiece is also discussed in relation to Augustine of Hippo’s theory of tri-partite vision as well as his theory of cross-modal uses of the sense in dialogues of spiritual truth. Sound is also a vital component of the devotional experience of the Ghent Altarpiece. Issues of music and speech acts are discussed to underscore the multivalent devotional uses of the Ghent Altarpiece.
Advisors/Committee Members: Smith, Jeffrey Chipps, 1951- (advisor), Peers, Glenn (committee member).
Subjects/Keywords: Ghent Altarpiece; Jan van Eyck; private devotion; frames
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Manager
APA (6th Edition):
Adams, Merchant Stewart, 1. (2009). Sense and spirituality : seeing Jan van Eyck's Ghent altarpiece. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/ETD-UT-2009-05-53
Chicago Manual of Style (16th Edition):
Adams, Merchant Stewart, 1972-. “Sense and spirituality : seeing Jan van Eyck's Ghent altarpiece.” 2009. Masters Thesis, University of Texas – Austin. Accessed January 24, 2021.
http://hdl.handle.net/2152/ETD-UT-2009-05-53.
MLA Handbook (7th Edition):
Adams, Merchant Stewart, 1972-. “Sense and spirituality : seeing Jan van Eyck's Ghent altarpiece.” 2009. Web. 24 Jan 2021.
Vancouver:
Adams, Merchant Stewart 1. Sense and spirituality : seeing Jan van Eyck's Ghent altarpiece. [Internet] [Masters thesis]. University of Texas – Austin; 2009. [cited 2021 Jan 24].
Available from: http://hdl.handle.net/2152/ETD-UT-2009-05-53.
Council of Science Editors:
Adams, Merchant Stewart 1. Sense and spirituality : seeing Jan van Eyck's Ghent altarpiece. [Masters Thesis]. University of Texas – Austin; 2009. Available from: http://hdl.handle.net/2152/ETD-UT-2009-05-53
. 
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