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- Creators: Hindemith, Paul, 1895-1963
Description
This Master's thesis locates four works by William Dyce inspired by Dante Alighieri's Commedia: Francesca da Rimini (1837), Design for the Reverse of the Turner Medal (1858), Beatrice (1859), and Dante and Beatrice (date unknown) in the context of their literary, artistic and personal influences. It will be shown that, far from assimilating the poet to a pantheon of important worthies, Dyce found in Dante contradictions and challenges to his Victorian, Anglican way of thinking. In this thesis these contradictions and challenges are explicated in each of the four works.
ContributorsTiffany, Kristopher (Author) / Serwint, Nancy (Thesis advisor) / Gully, Anthony (Committee member) / Codell, Julie (Committee member) / Arizona State University (Publisher)
Created2013
Description
In this thesis, I investigate the anatomical excesses represented in the works of Jean-Auguste-Dominique Ingres. In recent years, art historical scholarship on Ingres has multiplied after being quiescent for much of the twentieth century, as contemporary scholars perceive the unusual contradictions in his works. I introduce the concepts of pathological versus imaginary distortions. Pathological distortions are distortions that represent diseased bodies, such as the goiters in many of Ingres's female figures, whereas imaginary distortions are not anatomically possible, such as the five extra vertebrae in the Grande Odalisque. Ingres employed both of these types of these distortions in his bodies, and I discuss how these two types of distortions can be read differently.
My thesis is that Ingres employed extended anatomical variations-in his paintings, most notably in his female figures, for several reasons: to reconcile his anxiety about originality while remaining within the tradition of Classicism and "disegno," to pay homage to his predecessors who were also the masters of line, and to highlight his command of line and drawing. Though Ingres has never been a strictly Neoclassical artist in the Davidian tradition, the Romantic elements of his work are underlined further by these anatomical variations.
My thesis is that Ingres employed extended anatomical variations-in his paintings, most notably in his female figures, for several reasons: to reconcile his anxiety about originality while remaining within the tradition of Classicism and "disegno," to pay homage to his predecessors who were also the masters of line, and to highlight his command of line and drawing. Though Ingres has never been a strictly Neoclassical artist in the Davidian tradition, the Romantic elements of his work are underlined further by these anatomical variations.
ContributorsEpstein, Danya (Author) / Codell, Julie F. (Thesis advisor) / Gully, Anthony (Committee member) / Fahlman, Betsy (Committee member) / Arizona State University (Publisher)
Created2015
ContributorsHindemith, Paul, 1895-1963 (Composer)
ContributorsHindemith, Paul, 1895-1963 (Composer)
ContributorsHindemith, Paul, 1895-1963 (Composer)
ContributorsHindemith, Paul, 1895-1963 (Composer)
ContributorsHindemith, Paul, 1895-1963 (Composer)
ContributorsHindemith, Paul, 1895-1963 (Composer)
ContributorsHindemith, Paul, 1895-1963 (Composer)
ContributorsHindemith, Paul, 1895-1963 (Composer)