Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons^™

Redeemed Through The Beauty Of Sacred Spaces: How “Church Crawling” Proved To Be A Gift That Never Stops Giving., Cathy Stillman-Lowe

Peregrinations: Journal of Medieval Art and Architecture

No abstract provided.

A Visual Analysis Of The Work Of Anna Weyant For Art Historical Precedent, Jordan Arnold

MA Theses

This paper examines the rapid ascent and artistic evolution of Anna Weyant, whose blend of technical rigor, stylized figuration, and sly narrative tension has positioned her as a leading name in contemporary figurative painting. While her market visibility and high-profile representation have often overshadowed critical engagement with her work, a close analysis reveals a steadily developing practice grounded in a set of consistent formal concerns: controlled light and shadow, psychologically charged compositions, and a sustained dialogue with art-historical precedents. By situating Weyant’s paintings in relation to the psychological realism of the Dutch Golden Age, the uncanny and erotic undercurrents of …

Imperial Coin Imagery And The Legitimation Of Sacred Authority, Elizabeth Brooke Hurrell

Cohort 2025-2026

Brooke Hurrell is a graduate student of Museum Professions with a focus in archives.  Using the Roman coin collection of the D'Argenio collection at the library, Hurrell researched how Roman coins, both pagan and Christian, represented power, authority and religion.   Walsh Gallery Collections used: D'Argenio Collection of Coins and Antiquities

Artemisia Gentileschi's Last Susanna, Shelby A. Morgan

Anthós

Artemisia Gentileschi (1593-1645), a celebrated 17th century Baroque painter, depicted the biblical story of Susanna and the Elders six times in her long career of approximately 44 years (1610-1654). The first five were all painted and arranged vertically with Susanna's nude body exposed. Whereas her last Susanna (1652) and consequently her final known painting was painted horizontally with fabric covering, yet skimming Susanna’s nude body underneath. My research question is: Why at such a late stage in her career did Artemisia decide to reconfigure the composition of Susanna and the Elders and transform the representation of Susanna’s body through this …

An Ideological Target Through The Archaeological Archive: The Islamic State’S Destruction Of Palmyra And Its Impact On Local Syrian Identity, Tristen A. Leone

Pomona Senior Theses

This paper investigates how Palmyra's multicultural archaeological archive incited ISIS's destruction of the site during the Syrian Civil War through an analysis of sepulchral and religious architectural structures and onomastic practices. In contributing the cultural heritage scholarship, this paper places the motives of Islamic extremist groups in conversation with intellectual discourse around the multicultural identities of the Ancient Near East during the Roman Imperial Period. Further, through anthropological methodological frameworks and the photographic archive of excavation efforts at Palmyra, I aim to center modern local communities' experiences of living on and near an archaeological site like Palmyra. In consulting modern …

Bodies Of Knowledge: The Accuracy Of Medical Anatomical Drawings From The 14th To The 18th Century, Marina G. Mitchell

Honors Undergraduate Theses

From the fourteenth to the eighteenth centuries, European anatomical illustration underwent major transformations in response to changing scientific methods, technologies, and visual conventions, reflecting critical transitions in anatomical history. Scientific evolution allowed these images to achieve increasing structural precision and internal detail, though they frequently diverged from anatomical forms as they are understood today. This study examines how anatomical inaccuracies across five centuries emerged not from ignorance, but from deliberate mediation between purpose, observation, pedagogy, artistic convention, and cultural ideology. Through close analysis of works in visual comparison to their modern counterparts, this thesis identifies specific deviations from the twenty-first …

The Divine Feminine Reframed: Dogma And Doctrine, Icon And Flesh, And The Sacred Embodiment Of Reclamation, Natasha Keckley

Dance (MFA) Theses

This thesis interrogates Marian iconography and its role in constructing a moral binary that marks female bodies as either sanctified or sinful. Drawing on feminist and postcolonial theory, iconographic analysis, and historical case studies, the research analyzes how Christian symbology established the Marian Mold: a theological aesthetic apparatus that exalts feminine sanctity through ideals of virginity, obedience, and maternal receptivity while constraining feminine expression. This paradigm, propagated through the British Empire’s colonial regimes, shaped the regulation and reinterpretation of embodied traditions. The thesis investigates these dynamics through two case studies: the Devadasi tradition and Bharatanatyam’s reformulation in South India, and …

Representation Of Beauty- The Evolution Of Female Imagery In Renaissance Italy And Ming Dynasty Of China, Yitong He

MA in Fine and Decorative Art and Design Dissertations

This thesis examines the representation of female imagery in Renaissance Italy (c.1500–1620) and Ming China (c.1480–1644), asking why two contemporaneous cultures diverged so sharply in their visual constructions of femininity. In Italy, artists such as Titian, Moroni, and Lavinia Fontana depicted women as embodiments of dynastic virtue, sensuality, and intellectual agency. In contrast, Ming female images—ranging from ancestor portraits and court beauties to works by Tang Yin, Qiu Ying, Cui Zizhong, and Ma Shouzhen—were framed by Confucian morality and literati aesthetics, privileging symbolic virtue over individuality.

The study employs Bourdieu’s theory of cultural capital, Barthes’s semiotics of myth, and Mulvey’s …

On Dark Skinned Jesus Of Nazareth: Why Color Matters, Nicholas Berkel

MA Theses

This thesis examines the historical, religious, and cultural consequences of portraying Jesus as white within Christian art. Although Western art has overwhelmingly depicted Christ with white skin, archaeological, and contextual evidence supports a dark-skinned Jesus rooted in the ethnogeography of first century Palestine. The persistence of a White Jesus has shaped religious imagination and perception for centuries, reinforcing racial hierarchy and legitimizing systems of white supremacy. Through an interdisciplinary analysis combining biblical studies, Christian iconography, ethnography of ancient Semitic, Greco-Roman, and Egyptian peoples, medieval symbolism, modern mass-produced imagery, and Black thought, this study demonstrates how Jesus’ original complexion was gradually …

Nekuomanteion Or Mafia Front: Was Acheron Legit?, Wesley Green

Best Integrated Writing

Oracles of the dead, or nekuomanteia as they were often called in Ancient Greek, have come to be a more frequently discussed element of Classical Antiquity in recent years, and some scholars might go as far as to argue that they were a legitimate part of Greek and Roman society, with some believing that famous consultations of these oracles from authors such as Plutarch and Herodotus are but mythologized legends that recall real types of consultations from Antiquity. However, upon closer examination of the primary sources and archaeological evidence, one begins to doubt whether the modern interpretation of the ancient …

Best Integrated Writing Fall 2025 - Complete Edition, Wright State University School Of Humanities And Cultural Studies, Tracy Smith, Kristie Mckiernan

Best Integrated Writing

Best Integrated Writing includes excellent student writing from Integrated Writing courses taught at Wright State University.

Frameworks Of Genius: Fresco, Labor, Scaffolding, And Patronage In The Making Of Michelangelo's Sistine Chapel Ceiling, Jackelyn Eileen Adkins

Theses

This thesis examines how the materiality of production and the patronage of Pope Julius II influenced the visual and conceptual outcome of Michelangelo’s ceiling frescoes in the Sistine Chapel. It argues the physical demands of the fresco medium, the architectural constraints of the chapel, and the material infrastructure, such as the pigments, scaffolding, and spatial dynamics related to the political, theological, and ideological imperatives of papal authority. The materials served as a symbolic extension of Pope Julius II’s ambitions, embedding his message directly into the frescoes. By foregrounding the complex web of labor and materials that supported the project, this …

'In A Mirror, Dimly, Then Face To Face:' Reflecting On Bodily Sin And Spiritual Purity In The Central Female Figures Of Hugo Van Der Goes' Vienna Diptych, Sara Kluka

Theses

This thesis seeks to examine the so-called Vienna Diptych (1478/1479) by Hugo van der Goes. The two panels of the diptych have been displayed together since the 19th century, yet difficulties in provenance and the dating of the artist’s oeuvre have resulted in the continued questioning of its intended creation as a single campaign. This research seeks to assert the diptych’s thematic unity through a concentrated analysis of its leading female figures, a vantage point that has not yet been fully addressed in the literature. This paper will therefore examine the iconographic precedents for the unique imagery of the panels …

Ambiguous Bodies: Third Gender Expressions In Ancient Maya Art, Jayme Horne

Theses

This thesis examines the interpretations of Lintels 23, 24, and 25 from Yachilán, Drawing 18 from Naj Tunich, and Stela H from Copán, with a specific focus on third gender expression. These artworks depict figures that blend masculine and feminine attributes, from costuming to actions, to present intentionally ambiguous representations of the body that all ancient Maya people would have understood. Third gender expression is defined through the blending of masculine and feminine signifiers. It is a gender identity for people who do not identify as male or female, but rather as neither, both, or a combination of male and …

Assertions Of Monastic Identity And Power In The Cloister And Nave Of St. Gall, John D. Treat

The Ozark Historical Review

The Carolingian monastery lived in an unresolved tension between the purity of separation from the world and the benefits to be gained from secular engagement. To confront this dilemma, the parts of the monastery received new layers of symbolic meaning, opening some spaces to lay penetration while shielding others more securely. Here I will examine the monastic cloister and the nave of the abbey church as instances of these two tendencies.

Secured Through Stone: The Power, Monuments, And Memory Of Thyra Danmarkarbót And The Jelling Dynasty, Jacquelyn Truitt

History ETDs

Sometime in the mid-tenth century on the Jutland peninsula of Denmark, the Viking Age Queen Thyra (d. ca. 958/9) passed away and the epithet Danmarkarbót—Denmark’s Adornment—was skillfully carved onto her memorial runestone. Yet Thyra’s story has been clouded by few and unreliable textual sources, by differing assessments of her familial background that have emerged from those sources, and by misrepresentations of the material culture relating to her. This thesis explores Thyra and her place within the Viking Age Jelling dynasty through textual and material evidence and considers how the construction of both medieval and modern memory work and memorialization …

Envisioning The Virgin’S Assumption In Renaissance Florence: Reflections Of Religious And Private Patronage, Beth I. Campbell

International Journal of Undergraduate Research and Creative Activities

This study examines religious artistic works by Renaissance Florentine masters in the late fifteenth and early sixteenth centuries, employed as instruments of spiritual inspiration and devices of persuasion in the Republic. Through their depictions of Old and New Testament stories, artists portrayed significant biblical characters and ideals to both enlighten and influence. Not surprisingly, the life of the Virgin Mary was a popular subject of such pieces. However, one important event commonly illustrated was never definitively described in the Bible: that of the Virgin’s Assumption into Heaven. Earlier studies have considered patron influence in fifteenth-century Italian Renaissance interpretations of religious …

Heroic Sacrifice And Christ-Like Bodies: Conceptions Of Immortality In Jacques-Louis David's Death Of Marat, Ingelise Johnson

Theses

This thesis posits a reinterpretation of Jacques-Louis David’s late-eighteenth-century martyr-portrait, The Death of Marat, within its French Revolutionary political function and theological associations. The revolutionary body in Marat is rendered from a corporeal language of antique heroic figures and Renaissance depositions David observed during his study in Rome. It is especially in the iconography of the hanging arm that David illustrates Marat’s association with heroic and sacrificial deaths of antique and Christian imagery. These references convey the artist’s exploration of death within religious beliefs germane to the sociocultural contexts of the revolutionary period. Within antique and Christian theologies, David explores …

Engraving Goddesses: Hendrick Goltzius’S Mannerist Prints, Emily Seils

Theses

This project analyzes the reception of Hendrick Goltzius’s (1558-1617) prints within the court of Emperor Rudolf II (1552-1612), specifically how his technical expertise in his mythological compositions presented bodily transformation as an alchemical act. He produced images that were intellectually coded for a sophisticated audience while simultaneously capturing the viewer’s gaze and emotions. In doing so he created, alongside his contemporaries, a niche market of high demand art and enabled the "viral" circulation of collectable prints among Northern European elites. Three main topics structured my approach. First, the distinctive development of Rudolf II of Prague’s prestigious art collection, the Kunstkammer, …

Elisabetta Sirani’S Timoclea: Baroque Agency And The Aesthetics Of Feminine Rage, Shaylen Grace Gardner

Theses

This thesis examines Timoclea Kills the Captain of Alexander the Great (1659) by Elisabetta Sirani as a foundational example of feminine rage within the Baroque period. By framing Timoclea’s violent act not as an outlier or solely reactive gesture, but as a deliberate, composed assertion of power, Sirani constructs a model of feminine agency that defies patriarchal expectations of female submission and passivity. Through interdisciplinary analysis grounded in feminist theory, formal visual analysis, and retrospective cultural studies, this research argues that Sirani’s Timoclea exemplifies the Baroque’s strategic use of socially acceptable iconography to veil explicit challenges to gendered expectations. This …