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  • Dancing with the Devil: Salvator Rosa’s Manifestations of Witchcraft in Seventeenth Century Italy

    Student Work thumbnail: Dancing with the Devil: Salvator Rosa’s Manifestations of Witchcraft in Seventeenth Century Italy
    Type:
    Student Work
    摘抄:
    Throughout the seventeenth century, ideas of the occult and mystique of witchcraft consumed public interest in artistic circles in Florence, Italy. Salvator Rosa (1615-1673), an Italian artist from Naples, participated in this movement from 1640 until his death. As interests in the occult heightened during his time in Florence, he participated in suspicions of witchcraft through his Scenes of Witchcraft (1645-1649). Located at the Cleveland Museum of Art, the series consists of four tondi, each portraying a witch with harrowing spectators at different times of the day. However, to ensure his esteemed prominence, he returned to Rome and produced religious works. The macabre interests that captivated Rosa in Scenes of Witchcraft (1645-49) became a vehicle of undermining the church through The Shade of Samuel Appears to Saul (1668) when the artist returned to Rome. In this paper I propose that through shared iconography, The Shade of Samuel Appears to Saul is a painting of witchcraft, and serves to undermine the authority of the church. Witches or other necromancing subjects were accepted solely to elevate the morality of biblical characters. By giving the witch of Endor agency, Rosa is offering an alternative subject that serves to rival the power of God.
    作者:
    Banks, Claire
    提交者:
    Claire Banks
    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

  • Joan Miró: Poetic Manifestations

    Document thumbnail: Joan Miró: Poetic Manifestations
    Type:
    Document
    摘抄:
    Joan Miró, a Catalan artist, was religiously dedicated to the work of poets. In 1925, Miró felt it necessary to begin incorporating poetry into his paintings, shifting the essence of his work towards poetic impression. While his early works incorporated more obvious references to poetics, his large-scale murals of Blue I, II, and III from 1961 embody many of his earliest poetic influences in a less-obvious form. I will trace how poetics from the 20th century manifested in the works of Joan Miró to form the triptych of Blue I, Blue II, and Blue III.
    作者:
    Morriss, Lizie
    提交者:
    Elizabeth Morriss
    上传日期:
    04/04/2024
    更改日期:
    04/23/2024
    创建:
    4/17/2024
    证书:
    Attribution 4.0 International