Many people and cultures throughout history have taken great interest in the end of the world. Christianity has been used to answer questions about the Apocalypse in the final book of the Bible, the Book of Revelation. Artists from all around the world have used this apocalyptic text as inspiration for their works. In 1498, German artist Albrecht Dürer published a series of fifteen woodcuts depicting scenes from Revelation. One of these was “The Four Horsemen of the Apocalypse”, which can be used to more readily understand the teachings and beliefs of the Christian Church in 15th-century Europe.
Turning things that were once seen as inappropriate or undesirable to being widely accepted and loved. This can be seen in all aspects of culture, even visual culture and the arts. Two seemingly unrelated practices that have a changed perception are Tattooing and the production of Kitsch. Throughout the last century, views on tattoos have shifted tremendously in all features such as styles, techniques, symbolism, and social acceptance. Tattoo styles have changed drastically since their earliest documentation from tribal styles to commemorative memorials, and being used as a way to permanently decorate the body, in a way jewelry (although similar) cannot. Tattoos were predominately a sacred practice highlighting aspects of a culture, religion, and social class. As tattooing, was adopted by more cultures, people began to adapt the art form to fit their specific interests. In the Western world, specifically America the individuals getting these tattoos were usually seen as lower class, outcasts, and rebels. Kitsch has a long and verifying history that starts in Germany making its way to the United States just under a century ago. In the 85 years since its debut it has been great discussed and interpreted and continuously evolving. It was originally associated with low class works of art that were not thought provoking and tended to be masses produced. The association of the low class with tattoos and kitsch is very similar to how Norman Rockwell’s illustrations were seen in his early years of production. Rockwell was an American illustrator who was known for creating a romanticized depiction of American life through a photorealistic style. The evolution of tattoo acceptance and kitsch reflects a path similar to Norman Rockwell’s art. All turn towards a more positive, socially accepting, and new understanding entirely. The painting “Tattoo Artist” by Norman Rockwell is an uncanny comparison to how himself as an artist and tattoos both being seen as kitsch has changed with the times. The paralleled change in acceptance of tattoos, kitsch and Norman Rockwell all show that nostalgia is a strong factor in deciding what modern culture deems permissible.
Witches’ Sabbath in Trier is a broadsheet that depicts a witches’ sabbath, and was a piece of the thriving print culture of sixteenth century Germany. The image of the witch reflects misogynistic beliefs about women, rooted in the Bible and the female life course. Witch persecution meant that people could find and punish the roots of evil causing their misfortune: witches sent by Satan. This othered population was most often impoverished women whose bodies were scrutinized as possible vessels for evil. Broadsheets like this one were a terrifying and fascinating form of entertainment, helping to spread misogynistic beliefs about witchcraft.
Tawaraya Sotatsu’s screen door print of the Japanese deities you cannot dismiss how unique each one of the figures appears. You also cannot help but wonder how these deities ended up looking the way that they did. We look back to 13th-century Japan to see why Raijin and Fujin ended up being depicted as they did. We consider their history, analysis, and the artist's importance within Japanese culture.
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.
This document discusses the early life and artistic career of Caravaggio with his painting "Young Sick Bacchus". It also investigates the formal elements of the work and the contemporary theories behind it.
Senior Capstone that goes through the planning process of revitalizing and repurposing old, vacant commercial strip malls and turn them into a new source of urban living.
Due to car-centric urban planning, Cincinnati lacks sufficient social spaces; as society shifts towards tech-centric lifestyles, social opportunities diminish, highlighting the need for people-centric gathering places. We envision third spaces designed by and for the people, fostering diverse connections and community, promoting in-person interaction, and sparking imagination.
Senior Capstone Project.
Finalized as a pilot tool in the summer of 2023 as doctoral dissertation research, the Integrative Review Methodology Appraisal Tool (IRMAT, “ear-mat”) is designed to appraise whether recommended methodological elements are present in published integrative reviews in the nursing literature. The IRMAT demonstrates evidence of construct validity, internal consistency reliability, and inter-rater reliability. The IRMAT has implications for educating doctoral nursing students and nurses in clinical practice on appraising integrative reviews in the nursing literature. The IRMAT may also be used by editors and peer reviewers to appraise submitted nursing integrative reviews prior to publication. The IRMAT User Guide includes all 18 items, with general instructions and descriptions of each item alongside a rubric to assist with scoring each item, and is available in PDF and Word formats.
