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The Adaptation and Rejection of Divisionism in Futurism 1910-1913
No full textMaster of Arts in Art History -- John Cabot University, Spring 2021.Futurism was born in Milan in 1909 as a literary movement, and its principal goal was toinvigorate Italy culturally and politically in the aftermath of the Risorgimento. The threeMilanese painters Boccioni, Carrà and Russolo, along with Severini in Paris and Balla inRome, joined the movement initiated by Filippo Tommaso Marinetti a year later withvague ideas about what their new art was to look like. One thing they were not vagueabout was Divisionism, which they declared was absolutely essential and necessary fortheir art. For them, Divisionism provided an ideal solution for expressing the speed anddynamism of modern technology, which aligned with Marinetti’s foundational manifesto.This thesis examines the foundational years of Futurist painting from 1910 to 1913 toelucidate how Divisionism was adapted by the Futurist painters to achieve Futuristaesthetic, and what caused it to be abandoned by 1913. For this investigation, Ball’sLampada ad arco is analyzed in detail, using Boccioni’s paintings from the same periodas comparative material. Balla was the most experienced in Divisionism and Boccioniwas the leader of the group, thus how they interpreted Futurist dynamism with relation toDivisionism is central to this investigation. The primary sources for this investigationinclude the early Futurist manifestos and related art theories, and numerous publicationsby Futurism scholars are used as secondary sources. Divisionism was closely associatedwith the Lombard Symbolists whom the Futurist painters much admired, but theirencounter with Cubism in late 1911 drastically changed the artistic direction of the groupand led them to a more philosophical analysis and new developments of their art.Collectively, the Futurist painters began moving away from the color-centric aesthetics ofDivisionism by 1912, which no longer satisfied their artistic needs and ambition
Pay Them No Mind: the Influence of Implicit and Explicit Robot Mind Perception on the Right to be Protected
No full textMind perception is a fundamental part of anthropomorphism and has recently been suggested to be a dual process. The current research studied the influence of implicit and explicit mind perception on a robot’s right to be protected from abuse, both in terms of participants condemning abuse that befell the robot as well as in terms of participants’ tendency to humiliate the robot themselves. Results indicated that acceptability of robot abuse can be manipulated through explicit mind perception, yet are inconclusive about the influence of implicit mind perception. Interestingly, explicit attribution of mind to the robot did not make people less likely to mistreat the robot. This suggests that the relationship between a robot’s perceived mind and right to protection is far from straightforward, and has implications for researchers and engineers who want to tackle the issue of robot abuse
An American in Rome: The Career of George William Breck (1863-1920) and the Mosaic Commissions for the Facade and West Wall of St. Paul’s Within-the-Walls, Rome
No full textMaster of Arts in Art History -- John Cabot University, Spring 2021.During the first two decades of the 20th century, the American Artist George William Breck received two substantial commissions to design mosaics for the facade and west wall ofSaint Paul’s Within-the-Walls, the American Episcopal Church in Rome, Italy. And yet, very littleis known about Breck’s career. Who was this American artist, and how did his career develop insuch a way that Breck received commissions in Rome? This thesis will use archival records tounravel Breck’s career, from the artist’s early years in New York City, through his time in Italy asfirst Fellow and then Director of the American Academy in Rome. A case study will be made ofBreck’s mosaic commissions for Saint Paul’s Within-the-Walls. This thesis and the ensuing tablesprovide a collection of archival sources for future studies of the career of George W. Breck
A Look into the Concept Libertas During the Fall of the Republic and the Rise of the Princeps; Through the Writings of Sallust, Cicero, and Tacitus
No full textThesis (B.A. in Classical Studies, Minor in History)--John Cabot University, Spring 2021.How did the Romans see Libertas as the Republic came to an end, and how does this connect to the Roman idea of both governance and the self? This thesis looks to examine the complex meanings of Libertas, that stands at the heart of how the Roman Republic functioned and thus how the Princeps developed. To do this, the thesis compares two authors, Gaius Sallustius Crispus and Marcus Tullius Cicero, who, while holding similar ideas in Libertas, supported different political movements and ideologies. While the basic idea of Libertas is rather simple and linked to the differentiation between those who are slaves and those who are citizens in the political realm, Libertas has a much more fluid conceptualization. By discussing the facets of Libertas in the literature, and contrasting this with the events of the Catiline conspiracy and the coming fall of the Republic, it become clear that Libertas to the Romans can not stay fully abstract, but rather connects with the political movements of the time. In doing this, much of the dualistic, individual and societal aspects of Libertas are drawn out. After the discussion of the aspects of Libertas between Cicero and Sallust, their ideas are in turn put into dialog with the writings of Tacitus. The glimpse into Libertas as the Republic fell, and then comparing how Tacitus saw it both existing in the past, and how it no longer had a place on a societal level during his life. This illustrates how linked Libertas was to the Roman idea of personal betterment, social cooperation, and societal hegemony. While this thesis can not fully capture the concept of Libertas, both in its many dynamics in each era, and within the authors, it offers a glimpse into an often overlooked ideological linchpin of Rome. The conclusion is that Libertas enabled both the internal freedom through virtue, known as personal control, and more importantly the social idea of acceptance and mobility into the Roman system. That in turn ii helped to enable both in introduction of new citizens and fostered peace between the social orders. Its removal by arbitrary rule, the princeps, overall jeopardized this piece, and in the eyes of the authors stunted the growth of men
Yōko Ono Piece
No full textThesis (B.A. in Art History and International Affairs)--John Cabot University, Spring 2021.Whereas in ages past, the icon was a sacred symbol reserved for political and religious leaders, divine beings and mythical sprits, our modern culture worships the celebrity- or condemns them.
The purpose of this thesis is to investigate and analyze YōkoOno’s reception from different perspectives over the course of 60 years, and attempt to understand why her perception is so fragmented and divided with the ultimate goal of constructing a homogenous image of this heavily controversial and avant-garde artist and icon. This study is carried out first by considering her personal life and its representation, as well as her art through the point of view of the media and the voice of her peer groups.
The methodological approach was to relate very different types of sources (academic, voices from real artists, interpretations from different perspectives from both critical and mass-media), and to mold the idea of the representation of Yōko Ono both internally and externally. This is accomplished via a narrative approach, with media definitions embedded and entangled throughout, as well as the rethinking of definitions in a moment in time in which we are surrounded by different influences. The use of quotes is used as sort of images, almost like subjects themselves, woven and contextualized as a linguistic decision. They are narrative devices which add both structure and counter story.
The main – and still open - question this thesis addresses is, did Yōko Ono decide that her life would be a performance, or did her life become a performance. Was she in charge of her representation, or overwhelmed by it
Migration of Neapolitan Marble Inlay to Puglia: The High Altar in the Church of Il Purgatorio in Cerignola
No full textThesis (B.A. in Art History, Minor in Business Administration)--John Cabot University, Fall 2021.Notable for the vibrant colors and stylistic complexity of its composition, the high altarin the church of Il Purgatorio in Cerignola is an excellent example of Neapolitan marble inlay inPuglia. The proliferation of seventeenth-century decorative arts in Naples is a significantphenomenon that affected all surrounding provinces. Puglia seems to have numerous examplesof altars bearing a stylistic resemblance to some of the most original works produced in Naplesby Cosimo Fanzago. Nevertheless, the literature on Neapolitan marbles tends to neglect itsimpact on Puglia. Despite the challenges due to lack of documentation or poor state ofconservation, this thesis aims to demonstrate how little-known artifacts, such as the Cerignolahigh altar, can tell us much more about the artistic, social, and historical dynamics of thisphenomenon. Through first-hand visual analysis and comparisons with Neapolitan counterparts,this research also addresses the question of the altar’s authorship and patronage. Overall, such anapproach sheds light on how and why the migration of certain trends from Naples to SouthernItaly happened to involve even churches in smaller Apulian towns such as Cerignola
The Imperial Forums: A Journey Through Architectural Spatiality and Visual Engagement
No full textThesis (B.A. in Art History, Minors in Business Administration and Humanistic Studies)--John Cabot University, Spring 2021.The research carried in this thesis highlights the spatial, architectural, decorative, and conceptional links between the three Imperial Forums of Caesar, Augustus and Trajan. The structures examined in this analysis were built in different centuries yet were constructed with a shared vision of the ways euergetic venues could be considered focal and central spaces within the city of Rome. The discussion of this concept is developed by investigating and analyzing the most recent archaeological findings. These help the argument focus on both the spatial links created by the formal layout of the three venues and the visual/physical engagement that the viewer would have experienced while walking through them. The first part of the thesis is dedicated to the relevant role that Roman urban topography plays in the overall understanding of the birth and growth of the area of the Imperial Forums. By focusing on the recently discovered fragments of the Forma Urbis Romae, and more generally on ancient ground plans, it is argued that this map’s function and accuracy can incentivize our contemporary understanding about the conceptual and architectural importance that monumental structures had within Rome. The research relies heavily on formal analysis generated from the study of the newest archaeological findings. This brings the discussion to investigate the structural patterns of interrelated axiality that these complexes create. The cohesive architectural connection between the Forums of Caesar, Augustus and Trajan is also analyzed by considering their permeability as spaces. These venues were meant to be engaged with both physically through movement and visually by becoming involved in their ornamental texture and decorative narrative. The Imperial Forums are not only considered as paramount central and focal spaces within the city, but also as venues that are imbued with conceptual meanings of spatiality, architectural cross references and unitary decorative programs
Spiritual and Sensual Visions: Four paintings of the Mystic Marriage of St. Catherine by Correggio
No full textMaster of Arts in Art History -- John Cabot University, Fall 2021.Italian Renaissance artist, Antonio Allegri da Correggio, has been considered a purely sensual artist by generations of scholars due to limited documentation of his life. Correggio received several commissions in Parma and Mantua at Benedictine churches and monasteries and in the second half of the twentieth century, a certificate of ‘brotherhood’ from the reformed Benedictines, the Cassinese Congregation, was published which further illuminated this association. In light of this relationship with the Cassinese, who focused on the study of sacred scripture and the writings of Church fathers, Correggio’s work may be considered with regard to the spiritual and intellectual influences in his life. Correggio returned to the The Mystic Marriage of St. Catherine of Alexandria four times, a subject rooted in intimacy and divine love. This thesis will consider these four paintings and the artist’s intelligent and sensitive visions of the subject through close formal analysis and with consideration of his personal association with the Cassinese Congregation
Giovanni Battista Piranesi: Ad Infinitum
No full textMaster of Arts in Art History -- John Cabot University, Spring 2021.The etchings of Giovanni Battista Piranesi have been celebrated across disciplines since their creation in the eighteenth-century. Though Roman vedute were widely produced, Piranesi’s images have stood the test of time. What is it about Piranesi’s lens that provides an unusual perspective of a prevalent view? This research will investigate literature and imagery spanning from ancient Rome to the eighteenth-century in order to present evidence that suggests Piranesi conveyed a didactic allegory in his depictions of Roman antiquities, using the Tempio della Sibilla in Tivoli as a casestudy. Distinct from other vedutisti, the images present metaphorical devices which emphasize physicality of materials and their amalgamation into nature. Are the motifs within the image what sets Piranesi apart from what Margeurite Yourcenar calls the “literal and mediocre confreres that precede him,” as well as his successors, in their modern conceptions of the vedute di Roma