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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
    Descripción/Resumen:
    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.
    Creador/Autor:
    Banks, Claire
    Peticionario:
    Claire Banks
    Fecha modificada:
    04/26/2026
    Fecha modificada:
    04/26/2026
    Fecha de creacion:
    April 26, 2026
    Licencia:
    CC0 1.0 Universal

  • Globalization of The Adoration: Pilgrimage, Trade, and Shifting Perspectives within The Master of the Legend of Saint Lucy’s 'Adoration of the Magi' (c. 1480-85)

    Document thumbnail: Globalization of The Adoration: Pilgrimage, Trade, and Shifting Perspectives within The Master of the Legend of Saint Lucy’s 'Adoration of the Magi' (c. 1480-85)
    Type:
    Document
    Descripción/Resumen:
    By considering various depictions of the Adoration of the Magi between 1400 to 1485, I establish that the portrayal of the Magus within The Master of the Legend of Saint Lucy’s painting directly reflects the economic realities in Bruges throughout the same period. In turn, my close examination of marketplace standards alongside themes of pilgrimage, shifting racial ideals, and a growing interest in secular subjects, offers new insight into 15th century adaptations of the Adoration.
    Creador/Autor:
    Wells, Maiana
    Peticionario:
    Maiana Wells
    Fecha modificada:
    04/29/2025
    Fecha modificada:
    04/29/2025
    Fecha de creacion:
    2025-04-30
    Licencia:
    All rights reserved

  • Joan Miró: Poetic Manifestations

    Document thumbnail: Joan Miró: Poetic Manifestations
    Type:
    Document
    Descripción/Resumen:
    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.
    Creador/Autor:
    Morriss, Lizie
    Peticionario:
    Elizabeth Morriss
    Fecha modificada:
    04/04/2024
    Fecha modificada:
    04/23/2024
    Fecha de creacion:
    4/17/2024
    Licencia:
    Attribution 4.0 International