Cover to be unveiled : how meaning is revealed with sheer veils in paintings by Lucas Cranach The Elder

While scholars have questioned the meaning of Lucas Cranach the Elder’s sheer veils when associated with sensual nude figures, research about sheer veils adorning women in a religious context in his paintings has not yet been developed. Through a primarily iconographical approach, I explore who dons each type of veil, and when, to better understand why the same sheer veil is worn differently by various individuals and what that could mean relative to Cranach’s body of work. These veils exhibit artistic prowess, but analysis of their placement on individual figures also reveals how Cranach’s repeated use of sheer veils in his paintings trains the eye on underlying messages, unlocking meanings of these works for Cranach and his patrons and broader themes present in sixteenth century visual culture. My paper initiates this important discussion about how sheer veils – often overlooked in Cranach’s works – are used in both religious and secular contexts.

The pre-raphaelite female muse in Julia margaret cameron’s “idylls of the king” photographs

There has been little discussion of Julia Margaret Cameron’s Idylls of the King photographs over the past decade. My goal with this paper is to bring her Idylls of the King series back into discussion and address its success and relevance in both art history and literature. Scholars Helmut Gernsheim and Marylu Hill have questioned photography as a means to capture the imaginative content of Tennyson’s Arthurian stories and they declared Cameron’s photographs a failure. I argue that her theatrical style, use of props and costumes, obvious posing of her models, and nod to Victorian tableaux vivants capture the true essence of Tennyson’s epic. Her use of the Pre-Raphaelite female muse to portray the Arthurian characters of Elaine, Guinevere, and Vivien places her photographs in direct correlation with Pre-Raphaelite painting as well as popular literature. Her depictions of Tennyson’s epic poem are highly successful and I believe she achieved her personal goal of ennobling photography to the level of High Art.

Closer to life : the work of sari dienes

Like many of her female contemporaries, artist Sari Dienes’s contributions to the art historical dialogue have been largely overlooked in favor of her male counterparts. Often seen as a mentor and mother figure to neo-Dada artists Jasper Johns and Robert Rauschenberg, Dienes was an active member of the New York avant-garde circle surrounding composer/choreographer duo John Cage and Merce Cunningham in the 1950s and 1960s. These social relationships are central to the existing discourse on Sari Dienes, while her work remains little discussed. The fact that her dynamic, ever-changing style lacked aesthetic consistency was commonly lamented by notable figures such as Betty Parsons, however, I argue that Dienes’s diverse oeuvre is unified by her philosophies on art and life. The unification of art and life, denoted clearly by Dienes’s use of the found object, experimentation and chance happenings, and sensory experience, marks her as an innovator and catalyst in the neo-Dada movement as well as in other experimental art endeavors that took place in the aftermath of Abstract Expressionism.

Goya's late masterpiece : head of a monk

Francisco Goya painted few canvases during the last four years of his life spent in France. Several of his late masterpieces have fallen under scrutiny over the past ten years, their authenticity questioned by internationally respected scholars. Goya’s Head of a Monk can be counted among this group of disputed canvases. However, a comparison of the Monk with the artist’s sketchbooks, miniatures and murals created during his time in France as well as his last few years in Madrid indicate that this image as well as its underpainting were created by the master himself toward the end of his career.

Ishārāt al-marām min ʻibārāt al-Imām : manuscript, 1722

Light brownish laid paper with watermarks. 21.8 x 15.9 cm. (15.5 x 8 cm.).

Şerh-i Kaside-yi Bürde : manuscript, 1627

Translation and commentary on el-Būṣīrī's "Qaṣīdat Burda". Commentator first provides the verse in Arabic followed by a literal translation into Turkish and commentary.

A companion to Greek studies;

Tozer, H.F. Geography.--Tristram, H.B. Fauna.--Tristram, H.B. Flora.--History: 1. Hicks,R.D. Chronology. 2. Chronological Tables.--Jebb, Sir R. Literature.--Philosophy: 1. Jackson, H. Schools to Aristotle. 2. Hicks, R.D. Later Schools.--Gow, J. Science.--Art: 1. Penrose, F.C. Architecture. 2. Waldstein, C. Prehistoric art. 3. Waldstein, C. Sculpture. 4. Earp, F.R. Painting. 5. Smith, A.H. Vase Painting. 6. Smith, A.H. Terracottas. 7. Ridgeway, W. Engraved gems. 8. Hind, R.D. Archer--Music.--Gardner, E.A. Mythology and religion.--Public antiquities: 1. Whibley, L. Constitutions. 2. Wyse, W. Law. 3. Wyse, W. Finance. 4. Mayor, R.J.G. Population. 5. Mayor, R.J.G. Slaves and slavery. 6. Edwards, H.J. Colonies. 7. Edwards, H.J. Commerce and industry. 8. Ridgeway, W. Measures and weights. 9. Ridgeway, W. Money. 10. Oman, C.W.C. War. 11. Cook, A.B. Ships. 12. Gow, J. The calendar.--Private antiquities: 1. Gow, J. A table of the relationships of a man. 2. Harrison, Miss J. Ritual of birth, marriage, and death. 3. Wilkins, A.S. Education. 4. James, M.R. Books and writing. 5. Cornish, F.W. The position of women. 6. Evans, Lady Dress. 7. Gardner, E.A. Daily life, its surroundings, employments and amusements. 8. Gardner, E.A. House and furniture. 9. Allbutt, T.C. Medicine.--Criticism and Interpretation: 1. Neil, R.A. Dialects. 2. Roberts, E.S. Epigraphy. 3. Harris, J.R. Palaeography. 4. Jebb, Sir R. Textual criticism. 5. Verrall, A.W. Metre. 6. Sandys, J.E. History of scholarship.--Indices.

An elementary course of theological lectures, in three parts /

On t.p.: "To the critical and philological part is appended an essay on the general grammatical principles of the Semitic languages".