Hiram Powers and the Greek Slave: A Historiography
The Rise and Fall of the First Female Nudes in American Art: Hiram Powers and John Vanderlyn
Spatial and Cosmological Orientation of Soul Portals in Coffins and Tomb of Marquis Yi Of Zeng This paper will analyze the orientation of the portal motif present in the design of the tomb structure and the coffins of the Marquis Yi of Zeng (Zeng Hóu Yi) in relation to the concept of the division of souls, Hun and Po, and spatial orientation.(1) During the Warring states period contemporary to Yi of Zeng, a belief in an afterlife or journey after death heavily influenced the evolution of funerary tomb design and objects chosen for the deceased. These choices in funerary rites and items both fueled the perilous journey to the northwestern area of the universe for the Hun soul and tempted the Po soul to stay in the tomb for eternal rest. I believe that there is a particular lack of scholarship on the Marquis Yi’s tomb spatial orientation importance in comparison to other tombs relative in the 5th century and shortly after, as cosmology and orientation continued to be an integral part of life and death to avoid misfortune. By analyzing parts of a ritual poem titled ‘Zhao Hun’ or ‘Summons of the Soul’ written by the poet Song Yu for a Chu king in the anthology ‘Chuchi’ or ‘Songs of the South’ and use it as a guide along with other ritual texts such as the Liji, I might be able to theorize the possible reasoning of spatial orientation of the tomb construction and specialized portal motif of the tomb for its soul occupants.
(1) I will be using the term “portal” in relation to both the carved and painted portals within the tomb and on the coffins as I feel the term portal is a more appropriate grouping definition which then can be broken down into physical holes, painted windows and painted doors.
Velázques’ Venus: Collecting the Mythological Nude in Early Modern Spain Velázquez’s Toilet of Venus has been the topic of great discussion and debate since it remains the only discovered nude painting produced in seventeenth century Inquisition era Spain by a Spanish artist. Despite the frequent research on this topic, there has so far been separate scholarship on the influence of the art collecting habits of Spanish nobility and how their love for Italian works and disinterest in other local Spanish artists influenced how and why Velázquez produced this mythological female nude painting. To help bridge this gap in research I will be examining in this essay Velázquez’s two recorded trips to Italy, research of inventory records of the Seventh Marqués del Carpio, and artworks that Velázquez might have seen on his trips to Italy to acquire art for King Philip IV and artwork within Philip IV’s art collection. Together I argue that the Toilet of Venus would have been unachievable without its Italian origins due to the art climate of Spain which was centralized around the Spanish monarchy’s favoritism to French and Italian Old Master Painters. Velázquez accomplished what no other artist during the Golden Age of Spain was able to successfully do which was to produce a nude painting in Spain and survive the Inquisition, which makes the Toilet of Venus a powerful image.
Exposed Bodies in Art and Performance: Redefine and Reshape what Naked and Nude Mean
How Mythology and Violence Influence the Origins of the Greek Female Nude
The Bayeux Embroidery Women
Mock Exhibition Proposal : The Vault: Works from the Haggerty Collection
Ephemera, Stereotyping, and Simulacra in 19th century America and Japan Cultural mimicry and diffusion especially in the case of the Japonismé craze of the 19th century has been a topic of major research as well as the direct connection between the relationships of Japan and North America. What is less studied is how this cultural diffusion between nations through affordable items like ephemera are causing a simulated cultural reality to both those in Japan and in North America unable to travel, reinforcing stereotypes via the consumerist drive of trade and the spread of misinformation during the industrial era. Looking at how types of ephemera depicted people of other cultures, not just through the lens of North American distributed ephemera, but with other types of woodblock print ephemera produced by the Japanese will shed light on each opposing constructed simulated stereotyped reality of the others culture. This paper examines select examples of stereotyped chromolithography and woodblock print ephemera in Japan and North America during the 19th century and the demonstrated connection to Jean Baudrillard’s postmodern concept of Simulacra. Ephemera and simulacra are particularly evident in North America with household chromolithography advertising of utilities such as soap and edibles distributed in the form of cultural “trading cards” from the middle 19th century to early 20th century. I argue that the concept of simulacra applies to the 19th century cultural exchange between Japan and North America and the depictions of how each culture viewed the other by use of types of ephemera. This removal of true accuracy via simulation between each culture due to monetary and societal restrictions, physical distance, time, and misinformation and increasing the prevalence of stereotypes as well as the popularity of ephemera with the rise of modernity.