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Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons™
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Articles 1 - 7 of 7
Full-Text Articles in Ancient, Medieval, Renaissance and Baroque Art and Architecture
Continuity At Luxor Temple, Matthew Unruh
Vice & Virtue As Woman?: The Iconography Of Gender Identity In The Late Anglo-Saxon Psychomachia Illustrations, Stephenie Mcgucken
Vice & Virtue As Woman?: The Iconography Of Gender Identity In The Late Anglo-Saxon Psychomachia Illustrations, Stephenie Mcgucken
Medieval Feminist Forum: A Journal of Gender and Sexuality
In the Late Anglo-Saxon illustrated manuscripts of Prudentius's Psychomachia, vice and virtue are often shown ambiguously and the audience is encouraged to question what is male and what is female, and whether such categories are appropriate in understanding these illustrations. This paper utilises transgender theory to demonstrate how gender could be deployed in Late Anglo-Saxon manuscripts to question the roles of men and women with the ultimate aim of stressing the importance of righteous behaviours.
Viktor Vasnetsov’S New Icons: From Abramtsevo To The Paris “Exposition Universelle” Of 1900, Wendy Salmond
Viktor Vasnetsov’S New Icons: From Abramtsevo To The Paris “Exposition Universelle” Of 1900, Wendy Salmond
Art Faculty Articles and Research
This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Church of the “Savior Not Made by Hands” at Abramtsevo in 1880–81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was …
Children Shouldn't Play With Dead Things, Sarah Adcock
Children Shouldn't Play With Dead Things, Sarah Adcock
Graduate School of Art Theses
I view my creative process as alchemy, the transformation of materials through experimentation. I use wax as a material that transcends its historical use as a sculptural process for casting and instead, use it for its transmutable qualities to inform content. Because of its plasticity and duality as fragile and resilient, wax is symbolically submissive and assertive. By applying heat, wax can be molded and formed into new shapes. Once it cools, wax reverts back to its natural state; solid and impermeable. I use objects to explore desires of origin and life. Transitional objects, the first “me not me” possession …
Nevenka Vazgec, Marija Maracic, Josipa Karaca
Janja Majstorovic, Marija Maracic, Josipa Karaca
Mara Bojic, Marija Maracic, Josipa Karaca