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Full-Text Articles in Fine Arts

Baccalaureate And Associate Degree Relationships Panel, Stephen Black, Charles Grieb, Sally A. Struthers, Sally Paronson Oct 2009

Baccalaureate And Associate Degree Relationships Panel, Stephen Black, Charles Grieb, Sally A. Struthers, Sally Paronson

Art and Art History Faculty Publications

A significant number of reasoned and documented projections indicate that two-year associate degree-granting institutions will play an increasing role in the preparation of students who continue and obtain baccalaureate degrees. The U.S. population is growing, but few new institutions are being built. Many individuals must obtain their collegiate education close to home. Economic pressures and credit-hour caps are focusing states and localities on articulation agreements and curricular continuity. This session will explore these issues as a basis for presenting and considering what administrators should know and think about as local decision-making occurs.


Artistic Expression And Free Speech, Will South, Sally A. Struthers Ph.D. Jan 2009

Artistic Expression And Free Speech, Will South, Sally A. Struthers Ph.D.

Art and Art History Faculty Publications

Presented at the 2009 Wright State Honors Institute on Free Speech in a Global Society.


Rhythm In Relief, Lavon Williams, Kentucky Folk Art Center Jan 2009

Rhythm In Relief, Lavon Williams, Kentucky Folk Art Center

Kentucky Folk Art Center Exhibition Catalogs

2009 Kentucky Folk Art Center exhibition catalog of artist Lavon Williams.


Fovea Peccati Et Utero Ecclesiae: The Symbiotic Nature Of Female Sexuality On Medieval Baptismal Fonts, Harriet M. Sonne De Torrens Dr. Jan 2009

Fovea Peccati Et Utero Ecclesiae: The Symbiotic Nature Of Female Sexuality On Medieval Baptismal Fonts, Harriet M. Sonne De Torrens Dr.

Harriet M Sonne de Torrens Dr.

No abstract provided.


The Brilliant Line, Emily Peters, Evelyn Lincoln, Andrew S. Raftery Jan 2009

The Brilliant Line, Emily Peters, Evelyn Lincoln, Andrew S. Raftery

Books

Renaissance engravings are objects of exquisite beauty and incomparable intricacy that are composed entirely of lines. Artists began using this intaglio process in Europe as early as 1430. This captivating catalogue focuses on the height of the medium, from 1480 to 1650, when engravers made dramatic and rapid visual changes to engraving technique as they responded to the demands of reproducing artworks in other media. The Brilliant Line follows these visual transformations and offers new insight into the special inventiveness and technical virtuosity of Renaissance and Baroque (Early Modern) engravers. The three essays discuss how engraving’s restrictive materials and the …


Russian Icons And American Money, 1928-1938, Wendy Salmond Jan 2009

Russian Icons And American Money, 1928-1938, Wendy Salmond

Art Faculty Articles and Research

The article explores the marketing tactics and consumer expectations with regards to icons released in the street markets and provincial cities of Soviet Russia and acquired by American collectors from 1928-1938. These icons, including those from Byzantium in the tenth century, were seen as cultural commodities during the Russian revolution and the subsequent socialist construction. The Soviet apparatus Antikvariat was tasked with appraising the icon collections held by the Gosmuzeifond or the State Museum Reserve for exports.


Assur Is King Of Persia: Illustrations Of The Book Of Esther In Some Nineteenth-Century Sources, Steven W. Holloway Jan 2009

Assur Is King Of Persia: Illustrations Of The Book Of Esther In Some Nineteenth-Century Sources, Steven W. Holloway

Libraries

The marriage of archaeological referencing and picture Bibles in the nineteenth century resulted in an astonishing variety of guises worn by the court of Ahasuerus in Esther. Following the exhibition of Neo-Assyrian sculpture in the British Museum and the wide circulation of such images in various John Murray publications, British illustrators like Henry Anelay defaulted to Assyrian models for kings and rulers in the Old Testament, including the principal actors in Esther, even though authentic Achaemenid Persian art had been available for illustrative pastiche for decades. This curious adoptive choice echoed British national pride in its splendid British Museum collection …