Browsing by Subject "Art history"

Increased consumption of virtual museum content today has fueled the development of new ways of improving the ‘museum experience.’ The sophisticated needs and expectations of the modern visitor in the pursuit of education, leisure, and adventure within museums, can be fulfilled through the application of modern-day solutions. The objective of this study is to improve the experience of paintings through providing audiences three-dimensional immersive virtual experiences. In order to achieve this goal, a case study was created to explore in depth the idea that three-dimensional interventions with interactive elements will improve experience and enhance museum engagement. A practice-based methodology was used to develop a three-dimensional virtual environment of the painting of The Goddess of the Luo by Gu Kazhi. The expertise and knowledge of the researcher concerning photo-editing software and three-dimensional game engine were instrumental in the design and implementation of the virtual environment. The results indicated that through the combination of two-dimensional and three-dimensional elements, the design of instrumental interaction and interpretive materials based on the original painting, various techniques and strategies could be applied to improve the experience of the three-dimensional animated painting. The approach described in this case study could be applied to the physical museums as a supplement to interpret the original painting, as well as being displayed on the official website of the museums.

This dissertation is a historical examination of the broad and multifaceted role of appropriation in twentieth and twenty-first century American art. It argues for the complementarity of research in legal and art theory with respect to the origins, significance, and future of appropriation and contends that the historical development of appropriation art is indissolubly interconnected with changes in intellectual property laws. This dissertation proposes that a history of contemporary appropriation requires an interdisciplinary approach, employing art historical, legal, and economic theory to examine interrelations between appropriation art, postmodern theory, and the legal doctrine of fair use. Special attention is paid to the development of terms used to describe and define appropriation art. The art historical definition of appropriation is traced through a review of academic criticism and museum exhibitions. The legal understanding of appropriation, which has a direct impact on the creation and dissemination of art that builds on prior works, is explored and clarified. Economic claims about artistic property rights and art markets are also considered and differentiated. Throughout, I question established understandings of appropriation and identify unresolved issues in the scholarly treatment of appropriation art. I draw distinctions between ethical and legal guidelines for reuse of images and suggest that further development of ethical guidelines is more important than further clarification of legal rules. Ultimately, I conclude that transformative use is a valuable framework for understanding appropriation, but conclude that judges cannot be expected to determine whether or not a work is transformative without expert guidance, preferably from artists themselves, and recommend that artists participate actively in the development of an ethical fair use.

This dissertation analyzes experimental art movements in Hungary and the former Yugoslavia from 1968 to 1989, examining the variety of ways that artists responded to the ideological and practical failures of communism. I also deliberate on how artists, living in the specter of Marxist ideology, negotiated socio-political and cultural systems dominated by the state; how they undermined the moral consciousness that state socialism imposed from above; and how they created alternative ways of being in an era that had promised the opening of society and art but that failed that pledge. I suggest that some artists increasingly questioned the state's hegemony in everyday relationships, language, and symbols, and attempted to neutralize self-censorship and gain sovereignty over their own bodies and minds through "decision as art." The dissertation approaches authoritarian domination within the context of the artists' aesthetic choices, especially the development of conceptual and performance art as a mode of opposition. Deliberating on the notion of decision as central to the conceptualization and execution of resistance to the state, I focus on the alternative ways in which Yugoslavian and Hungarian artists made art in variegated forms and modes of ethical commitment. I argue that such art must be understood as an active decision to live in and through art while enduring political circumstance.

Vernacular architectural studies are an integral part of the world’s cultural heritage research. Compared with other tangible or intangible cultural heritage, the physical properties of vernacular architecture and its site-specific nature make it difficult to be physically exhibited in museums, thus limiting the dissemination of vernacular culture and impeding the potential conservation awareness of its audiences. The development of new media technology in the 21st century, represented by virtual reality in particular, has helped to alleviate this cultural communication deadlock. This thesis focuses on the traditional architecture of Huizhou, and consists of a written paper and a digital project. The written paper explores the origins of Huizhou culture and discusses how long-term developments in ethnography, social history, and the natural environment have influenced the unique appearance and design concepts of Huizhou architecture. Moreover, based on the spatial affordances of digital media, the paper discusses how virtual reality (VR) technology can enhance the experience of, accessibility to, and interactivity with Huizhou architecture as represented through 3D reconstruction. The digital part of the thesis is a VR application called “Virtual Huizhou,” and was developed in Unreal Engine 5. This application is a 3D reconstruction of Yin Yu Tang. It will also demonstrate the role of VR in enhancing visitors’ interests and evoking cultural and emotional experiences through the following aspects: 3D models, interface design, and user experience functionalities.

Before the rise of the ubiquitous MOCA (museum of contemporary) there was the Musée national du Luxembourg that since its foundation in 1818, served as the first museum anywhere dedicated to contemporary art. Yet the Luxembourg has been left to lurk in the shadows of art history. Best remembered for its mismanagement of the Caillebotte Bequest (1894-1897) that left the French state as the beneficiary of several dozen Impressionist canvases, the Luxembourg has been dismissed as epitomizing official support for an exhausted academicism.

This dissertation has sought to correct these misconceptions of the museum and the Third Republic Fine Arts administration. It provides an institutional history of the museum under the early Third Republic (1871-1914) that reconsiders how different interpretations of republicanism informed its curators' policies and practices. Information culled from archives, official publications, art criticism, and even tourist brochures, has revealed that in the 1890s and especially the 1900s, the museum's curators embraced the politics of solidarism. Applying solidarist principles such as eclecticism, tolerance, and commitment to public education, its curators defended their acquisition of both avant-garde and academic works of art. These principles further spurred curators to trace the spectrum of contemporary painterly styles to French artist tradition. In so doing, the Luxembourg's administrators implicitly upheld republicanism as a characteristically, even classically, French ideology that, in its translation into paint and institutional policies, testified to the nation's continued cultural, artistic, and political supremacy.

ABSTRACT

My dissertation studies the intersection of popular entertainment and the visual arts in Paris during the first decades of the twentieth century and the dialogue that formed between this subculture and the avant-garde factions of Paris and Italy. While this project will focus on the Italian Futurist Gino Severini (1883-1966), it is not conceived of as a monograph. Instead I will use Severini as a case study to help make sense of a complicated world in which the boundaries between bohemia and the bourgeoisie, masculinity and femininity, and art and popular culture are transgressed and blurred. Severini is particularly well suited to this discussion because nearly all of the 170 paintings, sketches, and pastels that he produced between the time that he arrived in Paris and the outbreak of the First World War take as their subject a prime example of Parisian popular culture--Montmartre's dance-halls. My study will address how form and content interrelate in these works, analyzing the ongoing evolution of his style and the manner in which he developed his imagery to cater to both commercial and avant-garde audiences. It will also seek to make sense of the reception of Severini's work both in France and elsewhere. In order to make sense of his artistic career and to divine the importance of his life and work to the greater political and cultural environment of early twentieth-century Europe, I will also explore Severini's actual participation in dance-hall culture, his self-fashioning as a dandy and a foreigner, and his attempt to find a niche for himself in Paris while still maintaining a foothold in the Italian avant-garde. Gino Severini's unique posturing within the culture of Bohemian Paris and the rich visual record that he left behind provide a perfect platform from which to deepen our understanding of the multitude of factors influencing the Parisian avant-garde and its subsequent impact on avant-gardes throughout the rest of the Western world.

Although an integral part of art historical studies, authentic experiences of architecture have been excluded from the cathedrals of cultural objects, art museums. The built forms can seldomly fit into the doors of museums like art objects in a collection, due to their physical sizes and inseparable links with their surrounding environment. When architecture is presented under traditional museum setting, the visitor experience is often mediated and created by photos, videos, and scaled models. When architectures are converted into public spaces like tourists’ sites, onsite experiences in these spaces are typically biased for a particular duration of time and weather. Interaction with the space is limited due to preservation concerns. This project aims to provide an alternative architectural experience in response to these above limitations using digital methods, instead of trying to substitute the traditional museum experience or the authentic onsite experience. The digital component of this project curates a virtual space using the early access version of Unreal Engine 5, as an exploration of the state-of-the-art technologies in rendering virtual spaces. The project contains three example scenes: Church of the Light, Glass House, and Dom-Ino House. Instead of merely promoting a virtual or a physical experience of architecture, this study takes a critical stance towards the growing attention around digitization and discusses the possibilities of experiencing architecture in a virtual setting.

As the largest cave of Buddhist art with thousands of murals spanning ten dynasties, the Dunhuang Mogao cave has been described as a “peerless cave” because of its fabulous frescos and handcrafted delicate sculptures. However, tourism and in-cave human activities had damaged the frescos; only a few caves are now open with limited accessibility for global visitors and the public. In addition, Dunhuang Cave authorities set strict rules to exclude some people, such as people in wheelchairs, to protect the murals and sculptures from possible damage. This thesis project aims to address this problem by modeling how digital environments might provide universal access to the cave by marginalized and excluded groups. The thesis project includes two separate digital sections: a Unity VR (Virtual Reality) immersive experience and a web-based Story Map with a three-dimensional view of selected murals. The thesis project not only provides an immersive experience for worldwide visitors but also unlocks the door for the possibilities of preserving cultural heritage by using innovative digital methods. Through the use of Maya and Steam, the Unity game engine can be used to curate a virtual space by placing the audience into well-textured 3D cave models, while the web-based story map can be used to contextualize basic background knowledge and provides a comprehensive text explanation of the Silk Road and Buddhist culture to inform the user’s understanding of what they are seeing. Overall, this thesis demonstrates endeavors to discover more possibilities and opportunities for historical and cultural heritage protection while not losing access.

Hilma af Klint, an oft-cited but underresearched Swedish artist, is often included in art historical literature on art and spirituality. And yet, the assumed art world affinity between Swedish artist Hilma af Klint and other leading voices on the topic – above all, the Austrian philosopher and esotericist Rudolf Steiner and Russian artist Wassily Kandinsky – demonstrates an urgency to place af Klint within a framework she doesn’t quite belong. This has subsequently led to a misunderstanding of her complexity as an artist and the broader question of spirituality and art. A lack of thorough visual analysis of her early works in much of the secondary scholarship, in addition to the absence of archival research, allows for these speculative claims. However, attending to a closer analysis of her visual imagery as well as available archival information questions the supposed affiliation of af Klint in particular to the assumed work of Steiner. The accepted narrative of af Klint’s relationship to Steiner claims he negatively impacted her works between the years 1908 and 1912. I employ analog, digital, and historical methods to explore this interesting albeit problematic encounter between af Klint and Steiner. These methods afford the opportunity to consider these connections in new and different ways. Analog, digital, and historical methods establish that the Steiner narrative in much of the secondary literature can only be understood as speculative. In addition, digital methods afford an opportunity to analyze this particular moment anew with the assistance of interactive data visualization software and text analytics systems. These systems not only indicate that there was no shift in her iconography before 1908 and after 1912, but also demonstrate the importance of re-evaluating this particular moment in af Klint’s life.

This dissertation explores the influence of anarchism on the development of modern art in Mexico and the Americas from 1910 to 1950. It argues that art was an integral component of anarchist movements and that the philosophy and politics of anarchism guided major aesthetic debates about modern art in Mexico. Two key figures anchor this study: Ricardo Flores Magón (1874-1922) was an anarchist writer, activist, and head of the Junta Organizadora del Partido Liberal Mexicano, an anarcho-communist group of exiled Mexican anarchists living in the U.S. Dr. Atl (1875-1964) was a landscape painter, early proponent of muralism, and promoter of Mexican folk art. These figures are a starting point for unveiling a wide network of well-known and marginalized artists, writers, and intellectuals who engaged with anarchist philosophies. Using previously unexplored archival sources, correspondence, and unpublished manuscripts, this study examines a range of different artistic works—paintings and murals, cartoons and drawings, correspondence and book illustrations—that ranged in form and style from realism to impressionism and expressionism. By examining the reproduction and translation of these works throughout Mexico, the U.S., and South America, this dissertation also shows how anarchist art production transcended linguistic and cultural divides and furthered efforts to construct a hemispheric network of transborder solidarity.

The purpose of this thesis is to visualize the economic system (supply, production, and transportation) and the logistics of the movement of marble in the Roman Empire in an effort to better understand the larger system of material movement in Imperial Rome. This will be accomplished through a digital case study on the largest surviving bath complex in Rome, the Baths of Caracalla, for which we have evidence of the types of materials used in its construction and speculative observations on the quarries from which this material was procured. In order to effectively demonstrate this system and to accurately locate the Baths of Caracalla within the imperial trade network, a detailed visualization of the marble quarries and the web of transportation routes using ArcGIS Pro mapping software was created. Using ArcGIS Pro as a heuristic tool, this map will show the quarry sites and reconstruct the transportation routes by which marble was moved over long distances for the Baths of Caracalla in Rome. While the digital humanities have used the city of Rome as a site for experimental mapping projects on various subjects, this map on the stone quarries in the Roman Empire in relation to the Baths of Caracalla will be the first digital humanities mapping project of its type.

In the context of today's global mobility, information, bodies and goods are circulating across the globe, and even further into outer space. However, we face a paradox: the more we move, the more we become sedentary. The modes of transportation that enable our global mobility are working against us, insidiously dwindling our psycho-physical mobility. Globalization is thus not the world becoming bigger (or too big), but the world becoming immobile. Taking the body as the central non-place of political space, Architectures of Aliveness: Building Beyond Gravity interrogates the possibility of inhabiting circulation as a pragmatic form of resistance to the contemporary immobilization of life. In an era in which bodies and goods are ever more constantly in global circulation, architectures of aliveness ask, what would an experience of weightlessness do for us?

Biotechnology serves as the current dominant model for enlivening architecture and the mobility of its inhabitants. Architectures of aliveness invert the inquiry to look instead at outer space's modules of inhabitation. In questioning the possibility of making circulation inhabitable --as opposed to only inhabiting what is stationary--architectures of aliveness problematize architecture as a form of biomedia production in order to examine its capacity to impact psychic and bodily modalities toward an intensification of health. Problematized synchretically within life's mental and physical polarization, health is understood politically as an accretion of our capacity for action instead of essentially as an optimization of the biological body. The inquiry emerges at the intersection of biotechnology, neurosciences, outer space science and technology, and architecture. The analysis oscillates between historical and contemporary case studies toward an articulation that concentrates on contemporary phenomena while maintaining an historical perspective. The methodology combines archival research, interviews, and artistic and literary analysis. The analysis is informed by scientific research. More precisely, the objective is to construct an innovative mode of thinking about the fields of exchangeability between arts and sciences beyond a critique of instrumentality.

The outcomes suggest that architectures of aliveness are architectures that invite modes of inhabitation that deviate from habitualized everyday spatial engagements. It also finds that the feeling of aliveness emerges out of the production of analog or continuous space where the body is in relation with space as opposed to be represented in it. The analysis concludes that the impact of architecture on our sense of wellbeing is conditioned by proprioceptive experiences that are at once between vision and movement and yet at the same time in neither mode, suggesting an aesthetic of inhabitation based on our sense of weightedness and weightlessness.

These outcomes are thus transduced to the field of media studies to enchant biomediatic inquiry. Proposing a renewed definition of biomedia that interprets life as a form of aesthetic relation, architectures of aliveness also formulate a critique of the contemporary imperialism of visualization techniques. Architectures of aliveness conclude by questioning the political implications of its own method to suggest opacity and agonistic spaces as the biomediatic forms of political space.

This thesis explores the way digital technologies inflect experiences with and meanings of art historical objects. Specifically, it addresses the way digital technologies can change the archiving, exhibiting, and experience of ephemeral art. It does so by 1) providing a discussion of archival theory, museum practices, and the use of photography as a primary means of archiving ephemeral art, and by 2) creating three digital visualizations that focus on the same problematic but leverage different technologies: Palladio, Neatline, and Unity 3d, respectively. These archival exhibits highlight spatial, temporal, and relational details that are often lost in the photographic documentation of ephemeral art. Alone, the archives highlight specific aspects of ephemera, but collectively in the exhibit, a more comprehensive record of ephemera is achieved. This emphasizes digital technologies ability to create widely accessible archives, educational resources, and different archival processes that add meaning to the records.

This dissertation examines a corpus of 486 satirical images of artistic life in Paris. The Parisian art-world was regularly the subject of a form of satirical criticism conducted in visual media. More significantly, this satirical criticism was produced in the medium of print, and in its reproducibility, could broadcast its satire to large audiences. By doing so in the amusing and subversive tone of satire, it constituted a visual counterpart to art criticism. I examine what these images reveal to us collectively over time as they overlap with representations of the art world disseminated in other equally understudied popular media, namely popular theater (vaudeville and opéra comique) and panoramic fiction (physiologies, short fiction, and so on).

This project sits at the intersection of the study of graphic satire and visual culture, and several strains of the social history of art, namely institutional histories of Paris’ art world, and the study of the representation of the artist and of artistic sociability. I also employed Digital Humanities Methodologies, namely Qualitative Data Analysis using NVivo, to produce distant and close readings of this corpus of images.

Late eighteenth- and early nineteenth-century art-world caricature was preoccupied with the art world and its actors, such as artists, connoisseurs, art critics, Salon juries, art audiences, dealers and sellers, and patrons and buyers. Further still, art-world caricature was overwhelmingly attentive to the relationship among different types of actors as mediated by an invisible system of structural relations, made visible via graphic satire’s representational language. These objects thus collectively mounted a coherent critique of the shifting structural relations within Paris’ art world. This dissertation argues that satirical images of artistic life in Paris presented a social type designed to contradict images of the artist as exceptional and as genius. Instead, art-world caricature proposed the “inglorious artist,” or the mediocre, common, and ordinary artist who toils, struggles, and ultimately fails to succeed in an increasingly liberalized art world.

This dissertation traces the ethical and conceptual connections between Weil’s account of attention and Kollwitz’s artistic practice of attention, especially attention to suffering. Attention, in Weil’s view, is a strenuous surrender to things as they are, which involves the difficult work of letting those things be other than we desire (or even need) them to be. For both Weil and Kollwitz, attention is the only meaningful way of engaging human suffering, one’s own or that of others. My dissertation explores their ethically risky claim, and argues that attention is not only interesting or valuable but necessary when it comes to suffering: any genuine attempt to engage with suffering must begin with a discipline substantially similar to the one Weil writes about as attention and Kollwitz practices in her art. I show how Kollwitz visually extends Weil’s philosophy and theology of attention to suffering in two distinct ways: first, by attending in her art to her own suffering as well as the suffering of others; and second, by investing her art with a wholehearted and tactile focus on the human body.

For Weil, it is attention (as opposed to the will) that is at the heart of human agency. Meaningful action is, for her, impossible without attention. This means that actions intended to alleviate suffering cannot be effective unless they begin (and remain grounded) in attention. This is true especially because one of the effects of suffering (especially the extreme suffering Weil calls malheur, or affliction) is to disfigure the sufferer so much that she is no longer recognizable (even to herself) as a human being, and becomes invisible. Weil writes that attention, which is a form of love, is able to see sufferers even when suffering has made them invisible. Because attention is an exercise of the image of God in human beings, and is a participation in God’s work in the world, it can restore to those whom suffering has reduced to the status of objects a sense of their own human value and dignity. When it comes to our own suffering, the discipline of attention involves accepting it rather than attempting to evade it by passing it on to others. Weil argues that because of the way God entered into suffering in Christ’s incarnation and passion, the nature of suffering has changed: suffering is no longer empty, but is instead a place where we can meet God.

Kollwitz’s two first series of prints (A Weavers’ Revolt and Peasants’ War) show her drawing on many of the strands of modern art that surround her in pursuit of one central goal: to attend to human beings, and to help her viewers learn such attention through her work. The many states of her prints show the rigor of her revisions and the resonance between her artistic process and Weil’s account of attention. Over the course of her career, her aim of seeing humans accurately becomes more and more an aim to see those who suffer. On the one hand, Kollwitz turns toward the industrial poor among whom she lived, whose sufferings tended to make them invisible to others. On the other hand, she turns toward her own suffering, particularly her grief over the death of her son in WWI. In a late series of woodcuts called War, and in her bronze sculpture Mother with Dead Son, she connects the two. Both the print series and the sculpture serve as an invitation to hesitate in a way that lets us attend to the crushing and disorienting reality of suffering. I argue that the series War shows humans meeting their own exposure to the possibility of affliction, and that Kollwitz’s self-described calling “to voice the sufferings of people” fits into a theological account of lament, which presents human suffering in the context of God’s hearing and care.

My dissertation contributes to theological aesthetics by proposing attention as a generally commendable practice of perception, and by offering Weil and Kollwitz’s way of engaging with suffering as an alternative to theodicy.

Many installation art projects have appeared from the 20th to the 21st century. There are diverse types of installation art. Due to the development and implementation of technology, installation art is divided into physical installation art that is entirely physical, without any digital application. On the other hand, virtual installation art implements virtual elements to physical installation art or is a complete virtual experience. This article discusses the relationship between these two art forms, from their definitions to the examples of different artists and works that have become famous in the field. It also explores how different digital platforms can serve as a medium for the completion of installation artists' work. A collaborative project is introduced at the end to deeply explore the relationship between physical installation art and virtual installation art. The project led to the conclusion that one can find elements and characteristics of physical installation art applications in a completely virtual installation artwork. However, with the development and usage of technology and digital tools, artists can flexibly create the installation art space they want to complete.

While great strides have been made in the study of Trinidad Carnival, there has yet to be a robust inquiry into how women have contributed to its evolution. One major reason for this shortcoming is that the dominant cultural discourse relies on a reductive

dichotomy that recognizes the costumes created prior to the 1970s as creative and those made after the 1970s as uncreative. This arbitrary division of the costume aesthetic reflects a distinct anti-feminist bias that sees women's spirited emergence in Carnival

territory in the 1970s as apolitical.

My dissertation exposes this dilemma, and seeks to undermine this

interpretation, by its focus on how women's bodies, their presentation, and their acknowledgment of the body's potential for non-verbal articulation impacted the evolution of performance practices and the costume aesthetic in Trinidad Carnival. I

explore how the predominance of women in Carnival since the 1970s and the bikinibased costume aesthetic that complements this change is suggestive of women's urgent need to manipulate the body as an aesthetic medium and site of subversion. Critical to

this argument is a close examination of certain female figures who have had a sustainable presence in Trinidad Carnival's history. My project acknowledges the jamette, a working class woman who defied Victorian tenets of decorum in preindependence

Trinidad. This figure has been overlooked in the predominant scholarship of Trinidad Carnival history. Another section of my dissertation explores the influence of the Jaycees Carnival Queen competition. Women of mostly European descent participated in this Carnival-themed beauty pageant that remained popular until the

1970s. I also examine the legend of soucouyant (an old woman who turns into a ball of fire at night and sucks the life blood from unsuspecting victims) and how this figure can be deployed to reinterpret Jouvay (the ritual that marks the beginning of Trinidad Carnival).

This dissertation examines the ways in which Chinese women artists in the late Ming and early Qing dynasties (1550–1750) used “Thirty-Two Manifestations of Bodhisattva Guanyin” as a model to create new artworks. “Thirty-Two Manifestations of Bodhisattva Guanyin” is a set of pictorial depictions and eulogies for the important Buddhist deity Guanyin, whose feminine appearance and salvific power garnered a great cult among female Buddhists in pre-modern China. I argue that, by copying, appropriating, and transforming this set to create novel works of paintings and embroideries, Chinese women artists from the sixteenth to the eighteenth century demonstrated their increased artistic agency as well as their deep engagement with the religious visual culture of the time. Four artistic mediums are studied for the investigation of “Thirty-Two Manifestations of Bodhisattva Guanyin” and women’s exploration of this theme: rubbing, painting, woodblock print, and embroidery. Chapter One studies the rubbing version of the “Thirty-Two Manifestations of Bodhisattva Guanyin” to illustrate its characteristic as a catalog of feminine iconography of Guanyin, compiled in the Yuan dynasty (1279–1368). Chapter Two examines the painted albums of the “Thirty-Two Manifestations of Bodhisattva Guanyin,” executed by female painters for female patrons, to prove that the set was a crucial part of the visual culture of the lay Buddhist women of the sixteenth and seventeenth centuries, serving as the ideal subject of artistic appropriations. Chapter Three discusses the woodblock print volumes of “Thirty-Two Manifestations of Bodhisattva Guanyin” and how they made the popular iconography of Guanyin available for women readers as potential embroidery patterns. Lastly, Chapter Four surveys the embroidered versions of the Guanyin images from the “Thirty-Two Manifestations of Bodhisattva Guanyin,” which shows the greatest degree of the transformation from models, to bring focus to Chinese women’s artistic agency in the medium symbolic of feminine virtue. The artworks studied in this dissertation will demonstrate that for women artists exploring the theme of Guanyin, making references to the pre-existing imagery did not always equate to honoring the past. Instead, the works bear witness to the women artists’ adaptability to the demands and preferences of the general Buddhist audience, highlighting how paintings, prints, and embroideries coexisted to create a dynamic culture in the late Ming and early Qing dynasties.

Color, Hygiene, and Body Politics: French Neo-Impressionist Theories of Vision and Volition, 1870-1905, explores the little studied "pragmatic" dimension of Neo-Impressionist theory and practice to reveal the full social and political import of Divisionist technique. Specifically, it examines how Neo-Impressionist painters such as Georges Seurat (1859-1891), Paul Signac (1863-1935), and Camille Pissarro (1830-1903), as well as their anarchist allies, applied artistic and political tenets to their daily practices, including hygienic habits and medical treatments. Neo-Impressionist Divisionism was based on a physiological awareness that the balanced use of three optical nerves generated a sense of harmony. By examining the ethical aspects of neuro-psychological color theories in nineteenth-century Europe, this research demonstrates that this awareness was not merely a matter of optics, but a part of the prevalent socio-ethical discourse of energy efficiency.

The first chapter, "Color Perception and Mental Labor: Divisionism and the Ethic of Nineteenth-Century Neuro-psychology," examines the history of nineteenth-century neuro-psychology to address how, in the fields of art and science, color perception was identified as an action. The chapter focuses on widespread neuro-psychological notions of "reflex theory," "nervous fatigue," and "homeostasis," all of which regulated the Neo-Impressionist concept of color harmony. Illuminating the Neo-Impressionist neural ethic, this chapter focuses on the behavioral phase of the Neo-Impressionist aesthetics neglected by previous studies.

The second chapter, "Neuro-psychological Space in Color and Dynamism," explores how this behavioral discourse was visualized in Neo-Impressionist painterly space. Contrary to Kantian a priori space, prominent theorists, such as Taine, Spencer, and Ribot who influenced the Neo-Impressionists, upheld the idea of dynamic space. As the raison d'être for this new space resided in the dynamic interaction between the self and the world, action became fundamental to its formation. Color in such new spaces was the perceptual bedrock, since optical nerves defined external objects chiefly as color. This chapter underscores the connection between dynamism and color in painterly space, through which the viewer could voluntarily engage with the world.

The third chapter, "Therapeutic Color and the Neo-Impressionists' Daily Practices," delves into the Neo-Impressionists' health-related pursuits including their commitment to hydrotherapy, color therapy, and homeopathy, all associated with an ecological concern for the equilibrium between the self and the environment. This comprehensive examination reveals an overlooked behavioral aspect of Neo-Impressionist theory, which was a critical dimension of their world-view that sought to merge art and life. The first section examines the artists' commitment to bathing and hydrotherapy through an analysis of the art and writings of Camille Pissarro and his anarchist allies. The second part examines the theory of color therapy developed by Dr. Paul Ferdinand Gachet, and his impact on the Neo-Impressionists. In the final section, I consider the broader implications of the Neo-Impressionist embrace of homeopathic practices with reference to a theory of ecological equilibrium.

My dissertation, “Coloring the Sacred: Visions of Devotional Kinship in Colonial Peru and Brazil,” spans disciplinary, linguistic, and imperial bounds to explore how local devotion to saints expressed through visual media informed broader debates on the enslavement and the spiritual conquest of “New” world populations in colonial Brazil and Peru. Specifically, I explore a range of social actors—African slaves, indigenous muleteers, Portuguese merchants, and Spanish clergymen—who contributed to the multi-directional process of “coloring the sacred” by producing, consuming, and circulating images of saints. Juxtaposing an iconographic analysis of sacred image-objects (paintings, prints, sculptures, crucifixes, and oratories) alongside textual sources, I historicize how lay devotion to saints and their images could simultaneously bridge and mark ethnic divides, thus contributing to rich theoretical debates on hybridity, religion, and the construction of race in the Iberian Atlantic world.