Written for Art 200, The Art of Spectacle in Baroque Rome, under the advisement of Dr. Jason Ciejka. Presented at the Tenth Annual Georgia Undergraduate Art History Forum, Collage 2011, Agnes Scott College’s Art and Art History Symposium and SpARC, Spring Annual Research Conference at Agnes Scott College.
The Barberini Tapestry Manufactory, patronized by Cardinal Francesco Barberini, represented unprecedented control by a patron on large scale tapestry works. This research attempts to contextualize the third and last biography cycle executed by the manufactory, The Life of Pope Urban VIII, within the other works with which it was intended to be displayed, as well as the political and historical context. All of the decisions made concerning the manufactory lead to one goal: to glorify the Barberini family and insure their legacy.
Written for Art 312, The Age of Cathedrals, under the advisement of Dr. Donna Sadler
For the majority of its reign as the singular move towards Renaissance ideals in Italian painting, the Scrovegni Chapel was praised for Giotto’s expert rendering and the legibility of each scenes individual narratives. However, in recent years, greater focus has been placed on the implied narratives, coming from the relations between the scenes in the cycle. This paper focuses on where Giotto’s depicted architecture fits in the balance between explicit and implicit narratives.
Written for Eng 360, Authorial Studies: Jane Austen, under the advisement of Dr. Peggy Thompson
The plot of Emma takes place almost exclusively outside the narrative structure. Instead of reading actions, readers are told of them by the discussions of characters. Characters base judgments on others’ words as much as their actions. As it follows, the language that surrounds Emma Woodhouse’s two suitors, exists to show Miss Woodhouse’s journey from one to the other, from language of posturing and performance to that of morality and material.
Written for Renaissance Art in Florence, under the advisement of Jeremy Boudreau
The recent restoration of Orsanmichele’s niche statues that included the removal from their in situ position on the exterior of the building and placement in a gallery-like setting on the third floor, as called attention to the importance of the tabernacles in the reading of the niche as a whole. This paper focuses on the interaction between two of Ghiberti’s contributions to Orsanmichele, St. John the Baptist and St. Matthew and their tabernacles and the contrast between the two niches.