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Art History
删除限定条件 部门: Art History
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University of Cincinnati
删除限定条件 出版者: University of Cincinnati
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- Type:
- Document
- 摘抄:
- This paper explores queer artist Thomas Lanigan-Schmidt (b. 1948) and his piece titled Allegory of the Stonewall Riot (Statue of Liberty Fighting for Drag Queen, Husband, and Home) (1969). I take a biographical approach to the paper, dissecting Lanigan-Schmidt’s childhood and young adult life living as a queer street kid in the 1960s. I follow him to New York City, where he continued creating his kitsch style art and started getting recognized for it. Outside of his artistic endeavors, Lanigan-Schmidt would catch himself hanging out at The Stonewall Inn, a gay bar on Christopher Street. In the early hours of June 28, 1969, The Stonewall Inn was unexpectedly raided by the police. At a time when being queer was criminalized, the patrons of Stonewall had had enough and fought back against the police, sparking a riot that turned into a weeks-long protest. Lanigan-Schmidt was in attendance that night and joined the fight for gay liberation. It was this night that inspired his creation, Allegory of the Stonewall Riot (Statue of Liberty Fighting for Drag Queen, Husband, and Home). By analyzing the contextual importance of The Stonewall Inn and the riots that ensued, I show how Allegory of the Stonewall Riot reflects queer life in the 1960s. In the art historical canon, queer art is largely underrepresented. However, in this paper I show how Thomas Lanigan-Schmidt and Allegory of the Stonewall Riot deserve a place in the art historical canon
- 作者:
- Turner, Lauren
- 提交者:
- Lauren Turner
- 上传日期:
- 04/27/2026
- 更改日期:
- 04/28/2026
- 创建:
- 2026-04-27
- 证书:
- CC0 1.0 Universal
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- Type:
- Article
- 摘抄:
- This project will explore the artist Leonora Carrington’s Self-portrait (Inn of the Dawn Horse, ca. 1937-38) and its relationship to and rejection of the male-centric, sexist ideology of psychoanalysis that governed the Surrealist movement. As outlined in Andre Breton's First Manifesto of Surrealism (1924), Freudian psychoanalysis had a great influence on Breton, the movement's founder (1896-1966). He believed in Freud's tenets and theories regarding dreams and the unconscious as a liberating and radical force that could tear down society’s systems of oppression. Yet there is a willful ignorance in Breton’s philosophy on the deep-rooted misogyny of Freud’s psychology and how the institution of psychoanalysis ignores the realities of female development and existence within inherently sexist societal structures of that period. However, Leonora Carrington rejected psychoanalytic theory as it pertained to her art. She refused to be categorized within sexist ideologies and asserted herself as a creative artist with her own interpretations of her work, positing her own ideologies in the process. She demonstrated her identity through her work and found liberation by developing her own feminist consciousness. Through researching Carrington's work, I want to expand on her ability to challenge the sexist paradigms of Surrealism and to reaffirm how her rejection demonstrates that female nonconformity is not only revolutionary but also necessary for female artistic freedom today. Other scholars have delved into this driving aspect of Carrington’s work but I will be utilizing Helene Cixous’ concept of “ecritutre feminine” in order to demonstrate how Carrington developed a “pictorial language” of her own within her work Self-Portrait (Inn of the Dawn Horse). I will use Cixous’ seminal work, "The Laugh of the Medusa," to expand on this idea and how Carrington developed that language, constituted of her own personal symbols, which is on full display in her self-portrait.
- 作者:
- Morriss, Ella
- 提交者:
- Ella Morriss
- 上传日期:
- 04/26/2026
- 更改日期:
- 04/26/2026
- 创建:
- 2026-04-27
- 证书:
- CC0 1.0 Universal
-
- Type:
- Article
- 摘抄:
- SAMPLE
- 作者:
- Rose, Emma
- 提交者:
- Emma Rose
- 上传日期:
- 04/26/2026
- 更改日期:
- 04/26/2026
- 创建:
- April 26, 2026
- 证书:
- CC0 1.0 Universal
-
- Type:
- Student Work
- 摘抄:
- The exhibition "Heavenly Bodies: Fashion and the Catholic Imagination," staged by the Metropolitan Museum of Art and Fashion Institute, showcased a fusion of Catholic iconography with contemporary fashion. The exhibition served as an immersive experience within the Met Cloisters, blending architecture, artworks, and garments to elevate clothing to the status of art. Attire was transformed into an earnest expression of spirituality and cultural identity through thematic organization. "Heavenly Bodies: Fashion and the Catholic Imagination" exemplifies the potential of fashion as a medium for artistic exploration and cultural discourse, challenging conventional perceptions and redefining boundaries between art and apparel.
- 作者:
- Fridlund, Katherine
- 提交者:
- Katherine Fridlund
- 上传日期:
- 04/19/2024
- 更改日期:
- 04/23/2024
- 创建:
- 2024-04-18
- 证书:
- All rights reserved
-
- Type:
- Document
- 摘抄:
- This 12th Century B.C.E. Bronze Wine Vessel comes from the Anyang Province in China, dating to the Shang Dynasty, one of the earlier dynasties that ruled in ancient China. The shape of the vessel is a rectangular prism with a square base and 4 thick legs. The lid of this Fangyi is a roughly pyramidal shape with a knob that echoes the shape of the lid. This wine vessel was used for ceremonial purposes, most likely for ancestral worship. Not particularly used for only wine, these vessels also held cooked and raw meat, and grains or other foods, as an offering to the gods and ancestors. Alcohol held in the Fangyi was a liquor, made out of a grain called millet. Comprised of three registers each face of the vessel the same, the bronze is cast and carved to have dragon motifs, taotie masks, and a consistent thunder pattern spiral across the body of the Fangyi. The lid of the Fangyi also has taotie masks on each of sides. The dragons on the body of this vessel represent many things, but most importantly, a harbinger of good luck, prosperity, and consistent success. The taotie masks are elusive in Chinese culture- their original meanings have been lost, but they are thought to represent “animalistic energies… to heal and to offer solace in a world full of diffuse and supernatural forces,” or the finality of death. The spiral pattern is meant to emulate clouds and rolling thunder, symbolizing life-giving rain and abundance.
- 作者:
- Crossman, Emma
- 提交者:
- Emma Crossman
- 上传日期:
- 08/29/2023
- 更改日期:
- 08/29/2023
- 创建:
- 2020-11-19
- 证书:
- Public Domain Mark 1.0
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- Type:
- Image
- 摘抄:
- If life is said to imitate art, then Suzanne Valadon’s rebellious, unorthodox, bohemian lifestyle is reflected in her artworks. Valadon's choice of the nude as the primary focus of much of her work reveals much about her role in society. A as a member of the working-class, Valadon was able to step outside the domestic and painted within the traditionally male domain. The art of Suzanne Valadon has been reprised in recent years as feminist art historians have been questioning the art historical canon and challenging the ideology of the nude as a masculine domain. This paper will discuss Valadon’s time as a model, what influence this had on her works, and her relationship with Edgar Degas, her family, and female contemporaries. It will also examine why Valadon chose the nude as the primary focus of much of her works and what this says about her role in society. Through this study, I hope to give better insight on why Valadon’s works were championed during her life, but the recognition faded after her death. Through her work, Valadon challenged not only the rules of the day, but she reclaimed the female nude in her work, the woman was no longer an object to be viewed but a subject in her own right.
- 作者:
- Jeffers, Andrea
- 提交者:
- Andrea Jeffers
- 上传日期:
- 04/27/2023
- 更改日期:
- 04/27/2023
- 创建:
- 2023-04-25
- 证书:
- Public Domain Mark 1.0
-
- Type:
- Student Work
- 摘抄:
- If life is said to imitate art, then Suzanne Valadon’s rebellious, unorthodox, bohemian lifestyle is reflected in her artworks. Valadon's choice of the nude as the primary focus of much of her work reveals much about her role in society. A as a member of the working-class, Valadon was able to step outside the domestic and painted within the traditionally male domain. The art of Suzanne Valadon has been reprised in recent years as feminist art historians have been questioning the art historical canon and challenging the ideology of the nude as a masculine domain. This paper will discuss Valadon’s time as a model, what influence this had on her works, and her relationship with Edgar Degas, her family, and female contemporaries. It will also examine why Valadon chose the nude as the primary focus of much of her works and what this says about her role in society. Through this study, I hope to give better insight on why Valadon’s works were championed during her life, but the recognition faded after her death. Through her work, Valadon challenged not only the rules of the day, but she reclaimed the female nude in her work, the woman was no longer an object to be viewed but a subject in her own right.
- 作者:
- Jeffers, Andrea
- 提交者:
- Andrea Jeffers
- 上传日期:
- 04/25/2023
- 更改日期:
- 04/25/2023
- 创建:
- 2023-04-25
- 证书:
- Public Domain Mark 1.0
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- Type:
- Document
- 摘抄:
- This project analyzes a print from the UC Art Collection called “Dusty Millers” and the amateur artist that created it. Diving into the artist’s biography and relations, this project first aims to understand how the amateur artist went about studying printmaking and how he became an important advocate for the medium in London. Secondly, the project discusses artistic influences from the 19th century that inspired his style and subject matter of his prints that include depictions of rural landscapes and daily labors.
- 作者:
- Roades, Gracie
- 提交者:
- Gracie Roades
- 上传日期:
- 04/08/2022
- 更改日期:
- 04/19/2022
- 创建:
- 2022-04-07
- 证书:
- All rights reserved
-
- Type:
- Student Work
- 摘抄:
- Draft of capstone class final project. Includes file of images and wall labels for DRAFT of the exhibition. Includes prints from the UC art collection from the 16th century, 17th century, 18th century, 19th century, and 20th century. The representation of architecture within art is a main theme for artists of all time periods. Within the UC Art Collection, prints display different stylistic approaches from abstract to realistic when portraying architecture. This exhibit will display five prints that compare and contrast the idea of stylistic approach. By viewing these artworks, there is the question as to why artists chose to portray the two types differently. Does the style dictate the importance or function of the architecture? Through exploration, one could say that there is a correlation between the type of architecture and its stylistic rendering. When viewing the examples of the collection, architecture that is considered monumental, such as cathedrals or government buildings, seem to be portrayed with realistic detailing and perspective, leaving no room for artistic expression in the portrayal. On the other hand, common architecture is portrayed with more abstraction but allows more freedom of expression from the artist to interpret the structure. Is one better than the other or do these two separate approaches give their subjects individualized attention to their charms?
- 作者:
- Roades, Gracie
- 提交者:
- Gracie Roades
- 上传日期:
- 03/31/2022
- 更改日期:
- 04/07/2022
- 创建:
- 2022-03-31
- 证书:
- All rights reserved
-
- Type:
- Student Work
- 摘抄:
- This essay investigates the complex subject matter and the significance of Félix Bracquemond’s etching Le Haut d’un battant de porte (The Top of a Door) through a biographical approach, visual analysis, and examination of the artist’s creative process and intentions. The investigation demonstrates that this etching is not only unusual for its clarity, but also for its ambiguity. The seemingly contradictory yet complementary characteristics – clarity and ambiguity – coexist in this work. It is the coexistence and interaction of clarity and ambiguity that makes this work more significant and intriguing.
- 作者:
- Lai, Sufang
- 提交者:
- Sufang Lai
- 上传日期:
- 03/31/2022
- 更改日期:
- 04/21/2022
- 创建:
- 2022-04-20
- 证书:
- All rights reserved