history of art dissertation examples

Department of the History of Art

You are here, dissertations, completed dissertations.

1942-present

DISSERTATIONS IN PROGRESS

As of July 2023

Bartunkova, Barbora , “Sites of Resistance: Antifascism and the Czechoslovak Avant-garde” (C. Armstrong)

Betik, Blair Katherine , “Alternate Experiences: Evaluating Lived Religious Life in the Roman Provinces in the 1st Through 4th Centuries CE” (M. Gaifman)

Boyd, Nicole , “Science, Craft, Art, Theater: Four ‘Perspectives’ on the Painted Architecture of Angelo Michele Colonna and Agostino Mitelli” (N. Suthor). 

Brown, Justin , “Afro-Surinamese Calabash Art in the Era of Slavery and Emancipation” (C. Fromont)

Burke, Harry , “The Islands Between: Art, Animism, and Anticolonial Worldmaking in Archipelagic Southeast Asia” (P. Lee)

Chakravorty, Swagato , “Displaced Cinema: Moving Images and the Politics of Location in Contemporary Art” (C. Buckley, F. Casetti)

Chau, Tung , “Strange New Worlds: Interfaces in the Work of Cao Fei” (P. Lee)

Cox, Emily , “Perverse Modernism, 1884-1990” (C. Armstrong, T. Barringer)

Coyle, Alexander , “Frame and Format between Byzantium and Central Italy, 1200-1300” (R. Nelson)

Datta, Yagnaseni , “Materialising Illusions: Visual Translation in the Mughal Jug Basisht, c. 1602.” (K. Rizvi)

de Luca, Theo , “Nicolas Poussin’s Chronotopes” (N. Suthor)

Dechant, D. Lyle . ” ‘daz wir ein ander vinden fro’: Readers and Performers of the Codex Manesse” (J. Jung)

Del Bonis-O’Donnell, Asia, “Trees and the Visualization of kosmos in Archaic and Classical Athenian Art” (M. Gaifman)

Demby, Nicole, “The Diplomatic Image: Framing Art and Internationalism, 1945-1960” (K. Mercer)

Donnelly, Michelle , “Spatialized Impressions: American Printmaking Outside the Workshop, 1935–1975” (J. Raab)

Epifano, Angie , “Building the Samorian State: Material Culture, Architecture, and Cities across West Africa” (C. Fromont)

Fialho, Alex , “Apertures onto AIDS: African American Photography and the Art History of the Storage Unit” (P. Lee, T Nyong’o)

Foo, Adela , “Crafting the Aq Qoyuniu Court (1475-1490) (E. Cooke, Jr.)

Franciosi, Caterina , “Latent Light: Energy and Nineteenth-Century British Art” (T. Barringer)

Frier, Sara , “Unbearable Witness: The Disfigured Body in the Northern European Brief (1500-1620)” (N. Suthor)

Gambert-Jouan, Anabelle , “Sculpture in Place: Medieval Wood Depositions and Their Environments” (J. Jung)

Gass, Izabel, “Painted Thanatologies: Théodore Géricault Against the Aesthetics of Life” (C. Armstrong)

Gaudet, Manon , “Property and the Contested Ground of North American Visual Culture, 1900-1945” (E. Cooke, Jr.)  

Haffner, Michaela , “Nature Cure: ”White Wellness” and the Visual Culture of Natural Health, 1870-1930” (J. Raab)

Hepburn, Victoria , “William Bell Scott’s Progress” (T. Barringer)

Herrmann, Mitchell, “The Art of the Living: Biological Life and Aesthetic Experience in the 21st Century” (P. Lee)

Higgins, Lily , “Reading into Things: Articulate Objects in Colonial North America, 1650-1783” (E. Cooke, Jr.)

Hodson, Josie , “Something in Common: Black Art under Austerity in New York City, 1975-1990” (Yale University, P. Lee)

Hong, Kevin , “Plasticity, Fungibility, Toxicity: Photography’s Ecological Entanglements in the Mid-Twentieth-Century United States” (C. Armstrong, J Raab)

Kang, Mia , “Art, Race, Representation: The Rise of Multiculturalism in the Visual Arts” (K. Mercer)

Keto, Elizabeth , “Remaking the World: United States Art in the Reconstruction Era, 1861-1900.” (J. Raab)

Kim, Adela , “Beyond Institutional Critique: Tearing Up in the Work of Andrea Fraser” (P. Lee)

Koposova, Ekaterina , “Triumph and Terror in the Arts of the Franco-Dutch War” (M. Bass)

Lee, Key Jo , “Melancholic Materiality: History and the Unhealable Wound in African American Photographic Portraits, 1850-1877” (K. Mercer)

Levy Haskell, Gavriella , “The Imaginative Painter”: Visual Narrative and the Interactive Painting in Britain, 1851-1914” (T. Barringer, E. Cooke Jr)

Marquardt, Savannah, “Becoming a Body: Lucanian Painted Vases and Grave Assemblages in Southern Italy” (M. Gaifman)

Miraval, Nathalie , “The Art of Magic: Afro-Catholic Visual Culture in the Early Modern Spanish Empire” (C. Fromont)

Mizbani, Sharon , Water and Memory: Fountains, Heritage, and Infrastructure in Istanbul and Tehran (1839-1950) (K. Rizvi)

Molarsky-Beck, Marina, “Seeing the Unseen: Queer Artistic Subjectivity in Interwar Photography” (C. Armstrong)

Nagy, Renata , “Bookish Art: Natural Historical Learning Across Media in Seventeenth-century Northern Europe” (Bass, M)

Olson, Christine , “Owen Jones and the Epistemologies of Nineteenth-Century Design” (T. Barringer)

Petrilli-Jones, Sara , “Drafting the Canon: Legal Histories of Art in Florence and Rome, 1600-1800” (N. Suthor)

Phillips, Kate , “American Ephemera” (J. Raab)

Potuckova, Kristina , “The Arts of Women’s Monastic Liturgy, Holy Roman Empire, 1000-1200” (J. Jung)

Quack, Gregor , “The Social Fabric: Franz Erhard Walther’s Art in Postwar Germany” (P. Lee)

Rahimi-Golkhandan, Shabnam , “The Photograph’s Shabih-Kashi (Verisimilitude) – The Liminal Visualities of Late Qajar Art (1853-1911)” (K. Rizvi)

Rapoport, Sarah , “James Jacques Joseph Tissot in the Interstices of Modernity” (T. Barringer, C. Armstrong)

Riordan, Lindsay , “Beuys, Terror, Value: 1967-1979” (S. Zeidler)

Robbins, Isabella , “Relationality and Being: Indigeneity, Space and Transit in Global Contemporary Art” (P. Lee, N. Blackhawk)

Sen, Pooja , “The World Builders ” (J. Peters)

Sellati, Lillian , “When is Herakles Not Himself? Mediating Cultural Plurality in Greater Central Asia, 330 BCE – 365 CE” (M. Gaifman)

Tang, Jenny , “Genealogies of Confinement: Carceral Logics of Visuality in Atlantic Modernism 1930 – 1945” (K. Mercer)

Thomas, Alexandra , “Afrekete’s Touch: Black Queer Feminist Errantry and Global African Art”  (P. Lee)

Valladares, Carlos , “Jacques Demy” (P. Lee)

Verrot, Trevor , “Sculpted Lamentation Groups in the Late Medieval Veneto” (J. Jung)

Von-Ow, Pierre , Visual Tactics: Histories of Perspective in Britain and its Empire, 1670-1768.”  (T. Barringer)

Wang, Xueli , “Performing Disappearance: Maggie Cheung and the Off-Screen” (Q. Ngan)

Webley, John , “Ink, Paint, and Blood: India and the Great Game in Russian Culture” (T. Barringer, M. Brunson)

Werwie, Katherine , “Visions Across the Gates: Materiality, Symbolism, and Communication in the Historiated Wooden Doors of Medieval European Churches” (J. Jung)

Wisowaty, Stephanie , “Painted Processional Crosses in Central Italy, 1250-1400: Movement, Mediation and Multisensory Effects” (J. Jung)

Young, Colin , “Desert Places: The Visual Culture of the Prairies and the Pampas across the Nineteenth Century” (J. Raab)

Zhou, Joyce Yusi, “Objects by Her Hand: Art and Material Culture of Women in Early Modern Batavia (1619-1799) (M. Bass, E. Cooke, Jr.)

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School staff and students participate in University-wide research centres such as the St Andrews Institute of Mediaeval Studies and the Scottish Studies Network. Our principal strengths lie in the areas of medieval and Renaissance art, in European and American modernism, the history of photography, the decorative arts in Britain and Museum and Gallery Studies.

For more information please visit the School of Art History home page.

This material is presented to ensure timely dissemination of scholarly and technical work. Copyright and all rights therein are retained by authors or by other copyright holders. All persons copying this information are expected to adhere to the terms and constraints invoked by each author's copyright. In most cases, these works may not be reposted without the explicit permission of the copyright holder.

Recent Submissions

Showtime the influence of theatrical spectacle on four american modernists , the zoo paintings of gilles aillaud : art engagé and camouflage in france, 1950-1980 , national-ish artists : victorio edades and the founding of filipino modern art , look at the sky : the bird simurgh in text and image in iran (1010-1650) , the maison bonfils in the middle east (1867-1918) : visual technologies, empire, and spectacle .

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Digital Commons @ USF > College of The Arts > School of Art and Art History > Theses and Dissertations

Art and Art History Theses and Dissertations

Theses/dissertations from 2023 2023.

Fragmented Hours: The biography of a devotional book printed by Thielman Kerver , Stephanie R. Haas

Theses/Dissertations from 2022 2022

Assessing Environmental Sensitivity in San Diego County, California, for Bird Species of Special Concern , Eda Okan Kilic

Theses/Dissertations from 2021 2021

Empress Nur Jahan and Female Empowerment: A Critical Analysis of a Long-Forgotten Mughal Portrait , Angela N. Finkbeiner

Theses/Dissertations from 2019 2019

Seeing King Solomon through the Verses of Hafez: A Critical Study of Two Safavid Manuscript Paintings , Richard W. Ellis

Moving Away from The West or Taking Independent Positions: A Structural Analysis for The New Turkish Foreign Policy , Suleyman Senturk

A Quiet Valley at Roztoky : Testimony of Singularity in the Landscape Imagery of Zdenka Braunerová , Zdislava Ungrova

Theses/Dissertations from 2018 2018

Mirror Images: Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites) , Jeanie Ambrosio

Theses/Dissertations from 2016 2016

Incongruous Conceptions: Owen Jones’s Plans, Elevations, Sections and Details of the Alhambra and British Views of Spain , Andrea Marie Johnson

An Alternative Ancien Régime? Elisabeth Vigée-Lebrun in Russia , Erin Elizabeth Wilson

Theses/Dissertations from 2015 2015

Sarah Sze's "Triple Point": Modeling a Phenomenological Experience of Contemporary Life , Amanda J. Preuss

Cross-Cultural Spaces in an Anonymously Painted Portrait of the Ottoman Sultan Mahmud II , Alison Paige Terndrup

Theses/Dissertations from 2013 2013

The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI , Maureen Elizabeth Cox

Theses/Dissertations from 2012 2012

Painting Puertorriqueñidad: The Jíbaro as a Symbol of Creole Nationalism in Puerto Rican Art before and after 1898 , Jeffrey L. Boe

Franz Marc as an Ethologist , Jean Carey

Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro's "This Land is Mime Land" , Jennifer Danielle Mccall

Theses/Dissertations from 2010 2010

Empty Streets in the Capital of Modernity: Formation of Lieux de Mémoire in Parisian Street Photography From Daguerre to Atget , Sabrina Lynn Hughes

Theses/Dissertations from 2009 2009

Intervention in painting by Marlene Dumas with titles of engagement: Ryman's brides, Reinhardt's daughter and Stern , Susan King Klinkenberg

Self-fashioning, Consumption, and Japonisme : The Power of Collecting in Tissot’s Jeunes Femmes Regardant des Objets Japonais , 1869 , Catherine Elizabeth Turner

Theses/Dissertations from 2008 2008

Kandinsky’s Dissonance and a Schoenbergian View of Composition VI , Shannon M. Annis

Theses/Dissertations from 2007 2007

Re-Thinking the Myth of Perugino and the Umbrian School: A Closer Look at the Master of the Greenville's Jonas Nativity Panel , Carrie Denise Baker

I'm Not Who I Was Then, Now: Performing Identity in Girl Cams and Blogs , Katherine Bzura

Manifestations of Ebenezer Howard in Disneyland , Michelle M. Rowland

The assimilation of the marvelous other: Reading Christoph Weiditz's Trachtenbuch (1529) as an ethnographic document , Andrea McKenzie Satterfield

Theses/Dissertations from 2006 2006

Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996 , Devon P. Larsen

Vision and Disease in the Napoleonic Description de l’Egypte (1809-1828): The Constraints of French Intellectual Imperialism and the Roots of Egyptian Self-Definition , Elizabeth L. Oliver

Theses/Dissertations from 2005 2005

The articulate remedies of Dolores Lolita Rodriguez , Hyatt Kellim Brown

Negotiating Artistic Identity through Satire: subREAL 1989-1999 , Anca Izabel Galliera

From Chapel to Chamber: Liturgy and Devotion in Lucantonio Giunta’s Missale romanum , 1508 , Lesley T. Stone

Theses/Dissertations from 2004 2004

Ensenada , Julia DeArriba-Montgomery

Threatening Skies , Brandon Dunlap

Apocalypth pentagram , Matthew Alan Guest

African Costume for Artists: The Woodcuts in Book X of Habiti antichi et moderni di tutto il mondo , 1598 , Laura Renee Herrmann

The Artist and Her Muse: a Romantic Tragedy about a Mediocre and Narcissistic Painter Named Rachel Hoffman , Rachel Gavronsky Hoffman

Procession: The Celebration of Birth and Continuity , I Made Jodog

The Thornton Biennial: The Kruszka Pavilion: The 29YR Apology , Ethan Kruszka

american folk , Preston Poe

A Simple Treatise on the Origins of Cracker Kung Fu Or Mai Violence , Mark Joseph Runge

"My Journey" , Douglas Smith

Twilight , Britzél Vásquez

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Dissertation,   the dissertation.

After the successful completion of the general examination, a topic and adviser for the dissertation should be chosen. Students should discuss potential topics with several faculty members before beginning. The final prospectus should be approved not later than 3 months (within the academic calendar -- September through May) of passing the general examinations in order to be considered to be making satisfactory progress toward the degree. This is the time when the Thesis Reader and Dissertation Proposal form should be completed and submitted to the department office or DGS. Three signatures are now required on the thesis acceptance certificate. Two of the three signatories must be GSAS faculty. The primary adviser must be in the department of History of Art and Architecture; the secondary adviser need not be. In addition to the primary and secondary advisers the student may have one or more other readers. Two readers must be in the department.

Thesis Defense

The Department of History of Art and Architecture requires that all Ph.D. dissertations (of students entering in September 1997 and beyond) be defended. At the defense, the student has the opportunity to present and formally discuss the dissertation with respect to its sources, findings, interpretations, and conclusions, before a Defense Committee knowledgeable in the student's field of research. The Director of the thesis is a member of the Defense committee. A committee is permitted to convene in the absence of the thesis Director only in cases of emergency or other extreme circumstances. The Defense Committee may consist of up to five members, but no fewer than three. The suggested make-up of the members of the committee should be brought to the Director of Graduate Studies for approval. Two members of this committee should be from the Department of History of Art and Architecture. One member can be outside the Department (either from another Harvard department or outside the University). The Defense will be open to department members only (faculty and graduate students), but others may be invited at the discretion of the candidate. Travel for an outside committee member is not possible at this time; exceptions are made rarely.  We encourage the use of Skype or conference calling for those committee members outside of Cambridge and have accommodation for either.  A modest honorarium will be given for the reading of the thesis for one member of the jury outside the University. A minimum of one month prior to scheduling the defense, a final draft of the dissertation should be submitted to two readers (normally the primary and secondary advisors). Once the two readers have informed the director of graduate studies that the dissertation is “approved for defense,” the candidate may schedule the date, room, and time for the defense in consultation with the department and the appointed committee. This date should be no less than six weeks after the time the director of graduate studies has been informed that the dissertation was approved for defense. It should be noted that preliminary approval of the thesis for defense does not guarantee that the thesis will be passed. The defense normally lasts two hours. The candidate is asked to begin by summarizing the pertinent background and findings. The summary should be kept within 20 minutes. The Chair of the Defense Committee cannot be the main thesis advisor. The Chair is responsible for allotting time, normally allowing each member of the committee 20 to 30 minutes in which to make remarks on the thesis and elicit responses from the candidate. When each committee member has finished the questioning, the committee will convene in camera for the decision. The possible decisions are: Approved; Approved with Minor Changes; Approved Subject to Major Revision (within six months); Rejected. The majority vote determines the outcome. --Approved with minor changes: The dissertation is deemed acceptable subject to minor revisions. The dissertation is corrected by the candidate, taking into account the comments made by the committee. The revisions will be supervised by the primary adviser. Upon completion of the required revision, the candidate is recommended for the degree. --Approved subject to major revision within six months: The dissertation is deemed acceptable subject to major revisions. All revisions must be completed within six months from the date of the dissertation defense. Upon completion of the required revisions, the defense is considered to be successful. The revisions will be supervised by the primary adviser. --Rejected: The dissertation is deemed unacceptable and the candidate is not recommended for the degree. A candidate may be re-examined only once upon recommendation of two readers. Rejection is expected to be very exceptional. A written assessment of the thesis defense will be given to the candidate and filed in the Department by the Chair of the Defense Committee. Candidates should keep in mind the Graduate School of Arts and Sciences deadlines for submission of the thesis and degree application when scheduling the defense.

Submitting the Dissertation

Students ordinarily devote three years to research and writing the dissertation, and complete it prior to seeking full-time employment. The dissertation will be judged according to the highest standards of scholarship, and should be an original contribution to knowledge and understanding of art. The final manuscript must conform to University requirements described in the Supplement The Form of the Doctoral Thesis distributed by the Graduate School of Arts and Sciences.

Graduate students should negotiate with their readers the timing of submission of drafts prior to final revisions. However, the complete manuscript of the dissertation must be submitted to the thesis readers not later than August 1 for a November degree, November 1 for a March degree, and April 1 for a May degree (this in order to provide both the committee with time to read and the candidate to revise, if necessary). The thesis readers may have other expectations regarding dates for submission which should be discussed and handled on an individual basis. The student is still responsible for distribution of the thesis to the committee for reading. In cases where a thesis defense is scheduled, the thesis must be submitted to the primary adviser at least one month prior to the defense. The thesis defense must be scheduled at least two weeks prior to the university deadline for thesis submission.

A written assessment by dissertation readers must be included with the final approval of each thesis including suggestions, as appropriate, on how the dissertation might be adapted for later publication.

The Dissertation is submitted online.   The Dissertation Acceptance Certificate (original) must be on Harvard watermark paper and is submitted directly to the registrar’s office once it is signed.

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Art History Dissertations and Theses

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Recent Submissions

Synaesthetic Dress: Episodes of Sensational Objects in Performance Art, 1955-1975 

The life and art of Ōtagaki Rengetsu 

Like Life: Royal Portraits of the Joseon Dynasty (1392-1910) in Ritual Context 

The Thun-Hohenstein Album: Constructing and Commemorating the Armored Body in the Holy Roman Empire 

Situating Contemporary Korean Art in the Age of Globalization 

The Kōfukuji Nan’endō and Its Buddhist Icons: Emplacing Family Memory and History of the Northern Fujiwara Clan, 800-1200 

Embracing Death and the Afterlife: Sculptures of Enma and His Entourage at Rokuharamitsuji 

Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture 

Familial Identity and Site Specificity: A Study of the Hybrid Genre of Seventeenth-Century Dutch Family-Landscape Portraiture 

Chu-lu : a northern Sung ceramic legacy 

KITAGAWA TAMIJI’S ART AND ART EDUCATION: TRANSLATING CULTURE IN POSTREVOLUTIONARY MEXICO AND MODERN JAPAN 

An American Jesuit Treasury of Religious Art: The Van Ackeren Collection in the Greenlease Gallery at Rockhurst University 

Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei 

Carved into the Living Rock: Japanese Stone Buddhist Sculpture and Site in the Heian and Kamakura Periods 

Re-Framing the American West: Contemporary Artists Engage History 

The Diamond Ordination Platform of Tongdosa: Buddhist Spaces and Imagery in 18th-century Korea 

A Parade of Pictures: An Examination of the Illustrated Evolution of Gion Matsuri Throughout Japanese History 

Bertram Hartman (1882-1960), an early modernist from Kansas 

The Exotic Gift and the Art of the Seventeenth-Century Dutch Republic 

Upending the Melting Pot: Photography, Performativity, and Immigration Re-Imagined in the Self-Portraits of Tseng Kwong Chi, Nikki S. Lee, and Annu Palakunnathu Matthew 

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Art History PhD Dissertation

View examples of in-progress and completed dissertations from School students and alumni.

Dissertation

Following the General Examination and after the Supervisory Committee has approved a written dissertation proposal, 30 credits of ART H 800 must be taken in preparation for and defense of the dissertation. This may necessitate registration in absentia for one or more quarters. It is the responsibility of the student to check with the Graduate School, the UW Libraries Copyright office, Proquest, and any other guidelines on fair use practices, permissions, and inclusion of images.

Supervisory Committee and Final Examination/Oral Defense

In consultation with the chair of the General Examination Supervisory Committee, membership of the Supervisory Committee may be slightly revised to accommodate fields of expertise necessary for the student’s dissertation work. The Supervisory Committee is comprised of a minimum of four members, who must include two current members of the Art History graduate faculty (including the faculty advisor) and a representative of the Graduate School. A complete draft of the dissertation approved by the chair must be delivered to each member of the Supervisory Committee at least 30 days before the Final Examination date. The Final Examination will be oral and will cover the subject of the dissertation and the student’s research. As stated in Graduate School Memorandum 13 , student exams must have four committee members present — including the Chair, GSR and at least one graduate faculty member. If a member(s) needs to participate in an exam but cannot be physically present, the Graduate School allows for video conferences if certain requirements are met. If the Final Examination is satisfactory, the Supervising Committee must certify this to the Graduate School by the last day of the quarter in which the degree is to be conferred. The graduate student should arrange for electronic filing of the dissertation, including obtaining the warrant and receiving approval forms well in advance of the defense. Read about Graduate School requirements for dissertations, including electronic filing .

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Home > Fine Arts and Communications > Visual Arts > Theses and Dissertations

Visual Arts Theses and Dissertations

Theses/dissertations from 2014 2014.

A Maoli-Based Art Education: Ku'u Mau Kuamo'o 'Ōlelo , Raquel Malia Andrus

Accumulation of Divine Service , Blaine Lee Atwood

Caroline Murat: Powerful Patron of Napoleonic France and Italy , Brittany Dahlin

.(In|Out)sider$ , Jarel M. Harwood

Mariko Mori's Sartorial Transcendence: Fashioned Identities, Denied Bodies, and Healing, 1993-2001 , Jacqueline Rose Hibner

Parallel and Allegory , Kody Keller

Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883) , Trenton B. Olsen

Conscience and Context in Eastman Johnson's The Lord Is My Shepherd , Amanda Melanie Slater

The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner , Katie Janae White

Theses/Dissertations from 2013 2013

Women and the Wiener Werkstätte: The Centrality of Women and the Applied Arts in Early Twentieth-Century Vienna , Caitlin J. Perkins Bahr

Cutting Into Relief , Matthew L. Bass

Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene , Hillary Anne Carman

The End of All Learning , Maddison Carole Colvin

Civitas: A Game-Based Approach to AP Art History , Anna Davis

What Crawls Beneath , Brent L. Gneiting

Blame Me for Your Bad Grade: Autonomy in the Basic Digital Photography Classroom as a Means to Combat Poor Student Performance , Erin Collette Johnson

Evolving Art in Junior High , Randal Charles Marsh

All Animals Will Get Along in Heaven , Camila Nagata

It Will Always Be My Tree: An A/r/tographic Study of Place and Identity in an Elementary School Classroom , Molly Robertson Neves

Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess , Katelyn McKenzie Sheffield

Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop , Kathryn C. Smurthwaite

Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43 , Vriean Diether Taggart

Blooming Vines, Pregnant Mothers, Religious Jewelry: Gendered Rosary Devotion in Early Modern Europe , Rachel Anne Wise

Theses/Dissertations from 2012 2012

Rembrandt van Rijn's Jewish Bride : Depicting Female Power in the Dutch Republic Through the Notion of Nation Building , Nan T. Atwood

Portraits , Nicholas J. Bontorno

Where There Is Design , Elizabeth A. Crowe

George Dibble and the Struggle for Modern Art in Utah , Sarah Dibble

Mapping Creativity: An A/r/tographic Look at the Artistic Process of High School Students , Bart Andrus Francis

Joseph as Father in Guido Reni's St. Joseph Images , Alec Teresa Gardner

Student Autonomy: A Case Study of Intrinsic Motivation in the Art Classroom , Downi Griner

Aha'aina , Tali Alisa Hafoka

Fashionable Art , Lacey Kay

Effluvia and Aporia , Emily Ann Melander

Interactive Web Technology in the Art Classroom: Problems and Possibilities , Marie Lynne Aitken Oxborrow

Visual Storybooks: Connecting the Lives of Students to Core Knowledge , Keven Dell Proud

German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars , Allison Slingting

The Influence of the Roman Atrium-House's Architecture and Use of Space in Engendering the Power and Independence of the Materfamilias , Anne Elizabeth Stott

The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education , Angela Ames West

Theses/Dissertations from 2011 2011

The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork , Jethro D. Gillespie

The Movement Of An Object Through A Field Creates A Complex Situation , Jared Scott Greenleaf

Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading , Danielle Jean Hurd

A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art , Jordan Jensen

A Core Knowledge Based Curriculum Designed to Help Seventh and Eighth Graders Maintain Artistic Confidence , Debbie Ann Labrum

Traces of Existence , Jayna Brown Quinn

Female Spectators in the July Monarchy and Henry Scheffer's Entrée de Jeanne d’Arc à Orléans , Kalisha Roberts

Without End , Amy M. Royer

Classroom Community: Questions of Apathy and Autonomy in a High School Jewelry Class , Samuel E. Steadman

Preparing Young Children to Respond to Art in the Museum , Nancy L. Stewart

DAY JAW BOO, a re-collection , Rachel VanWagoner

The Tornado Tree: Drawing on Stories and Storybooks , Toni A. Wood

Theses/Dissertations from 2010 2010

IGolf: Contemporary Sculptures Exhibition 2009 , King Lun Kisslan Chan

24 Hour Portraits , Lee R. Cowan

Fabricating Womanhood , Emily Fox

Earth Forms , Janelle Marie Tullis Mock

Peregrinations , Sallie Clinton Poet

Leland F. Prince's Earth Divers , Leland Fred Prince

Theses/Dissertations from 2009 2009

Ascents and Descents: Personal Pilgrimage in Hieronymus Bosch's The Haywain , Alison Daines

Beyond the Walls: The Easter Processional on the Exterior Frescos of Moldavian Monastery Churches , Mollie Elizabeth McVey

Beauty, Ugliness, and Meaning: A Study of Difficult Beauty , Christine Anne Palmer

Lantern's Diary , Wei Zhong Tan

Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes , Shelley Williams

Theses/Dissertations from 2008 2008

A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas , Monica Jayne Bowen

Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste" , Kiersten Claire Davis

Dairy Culture: Industry, Nature and Liminality in the Eighteenth-Century English Ornamental Dairy , Ashlee Whitaker

Theses/Dissertations from 2007 2007

Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum , Laura Paulsen Howe

And there were green tiles on the ceiling , Jean Catherine Richardson

Four Greco-Roman Era Temples of Near Eastern Fertility Goddesses: An Analysis of Architectural Tradition , K. Michelle Wimber

Theses/Dissertations from 2006 2006

The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour , Megan Marie Collins

Fix , Kathryn Williams

Theses/Dissertations from 2005 2005

Ideals and Realities , Pamela Bowman

Accountability for the Implementation of Secondary Visual Arts Standards in Utah and Queensland , John K. Derby

The Artistic and Architectural Patronage of Countess Urraca of Santa María de Cañas: A Powerful Aristocrat, Abbess, and Advocate , Julia Alice Jardine McMullin

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Department of History of Art PhD Dissertations

2020 to present.

• 2022 Katharine Campbell: Creating the Composite: Combinatory Artistry and the Notion of Style in Antwerp, c. 1510-1585 (Directed by Celeste Brusati and Megan Holmes)
• 2022 Sean Kramer: Military Manhood: Visualizing the Common Soldier in French and British Art and Culture, 1871-1914 (Directed by Susan Siegfried and Elizabeth Sears)
• 2022 Jun Nakamura: Prints and Printedness: Mark Making, Meaning, and Perceptions of Print in the Seventeenth-Century Netherlands (Directed by Celeste Brusati and Megan Holmes)
• 2022 Gerui Wang: Landscape and the Representation of Public Spaces: Chinese Visual Culture from 10th-14th Centuries (Directed by Kevin Carr and Martin Powers) 
• 2021 Courtney Wilder:  Novel Impressions: Prints, Textiles, and the Visual Economy in Europe, 1815-1851  (Directed by Susan Siegfried)
• 2021 Susan Dine:  Seeing Speech, Reading Bodies: Manifestations of Language in Japanese Buddhist Visual Cultures of the Thirteenth Century  (Directed by Kevin Carr)
• 2021 Vishal Khandelwal:  Crafting Expertise: Art and Design Pedagogy and Professional Values at the National Institute of Design in India, 1955-1985  (Directed by Claire Zimmerman)
• 2020 Chanon Praepipatmongkol:  Postwar Abstraction and Practices of Knowledge: Fernando Zobel and Chang Saetang  (Directed by Joan Kee)
• 2020 Elizabeth Rauh:  An Islamic Cosmos: Artistic Engagements with Islamic Heritage in Iran and the Arab East, 1958-2018  (Directed by Christiane J. Gruber)
• 2020 Stephanie Triplett:  The Rise of Narrative Animal Painting in France and Germany, 1790- 1880  (Directed by Susan Siegfried)

2010 - 2019

• 2019 Ashley Dimmig:  Making Modernity in Fabric Architecture: Imperial Tents in the Late Ottoman Period  (Directed by Christiane J. Gruber)
• 2019 Ximena Gomez:  Nuestra Senora: Confraternal Art and Identity in Early Colonial Lima  (Directed by Megan Holmes and Stella Nair)
• 2018 Chun Wa Chan:  Framing a Foreign God: The Tamamushi Shrine and the Opportunities of Buddhism in Early Japan  (Directed by Kevin G. Carr)
• 2018 Alexanda Fraser: Art, Decoration, and the Texture of Modern Experience: The Interior Before 1900 (Directed by Alex D. Potts)
• 2018 Jennifer Gear: Visualizing the 1630-31 Plague Epidemic in Early Modern Venice and the Veneto  (Directed by Megan Holmes) 
• 2018 Tina Le: Material Conceptualisms: Philippine Art under Authoritarianism, 1968 – 1986  (Directed by Joan Kee) 
• 2018 Grant Mandarino: Seeing Class: Graphic Satire and the Cultivation of Radicalism in the Weimar Republic  (Directed by Matthew Biro)
• 2018 Allison Martino: Stamping History: Stories of Social Change in Ghana's Adinkra Cloth   (Directed by Raymond Silverman)
• 2018 Wendy Sepponen: Milanese Bronze, Spanish Stone, and Imperial Materials: Sculptural Interchange and the Leoni Workshops 1549-1608  (Directed by Megan Holmes and Alex D. Potts)
• 2017 Ashley Miller: Locating ‘Heritage’ in Morocco: Colonial Notions of Cultural Heritage and the Promotion of Morocco’s Decorative Arts under the French Protectorate (1912-1931)  (Directed by Raymond A. Silverman)
• 2017 Kristin Schroeder: How to Look Sachlich: Fashion and Objectivity in Weimar Germany  (Directed by Matthew Biro)
• 2017 Alice Sullivan: The Painted Fortified Monastic Churches of Moldavia: Bastions of Orthodoxy in a Post-Byzantine World   (Directed by Achim Timmermann)
• 2017 Emily Talbot: The Photographic Effect: Making Pictures After Photography, 1860-1895  (Directed by Susan L. Siegfried)
• 2016 Nicholas Hartigan:  The Purpose of Public Sculpture: Artistic, Institutional, and Cultural Motivations since 1965  (Directed by Alex D. Potts)
• 2016 Lehti Keelmann: Bachelors Bridging the Baltic: The Artistic Ambitions of the Tallinn Brotherhood of the Black Heads, c. 1400-1524  (Directed by Achim Timmermann)
• 2016 Kristine Ronan: Buffalo Dancer: The Biography of an Image  (Directed by David Doris)
• 2016 Anna Wieck:  Painting, Popular Culture, Putrefaction: Depicting Tradition on the Eve of the Spanish Civil War (1936-1939)  (Directed by Alex Potts)
• 2015 Antje K Gamble: National and International Modernism in Italian Sculpture from 1935-1959. (Directed by Alex Potts)
• 2015 Vivian Li:  Art's Public Lives: Sculpture in China after 1949. (Directed by Joan Kee)
• 2015 Megan C McNamee:  Picturing Number in the Central Middle Ages. (Directed by Elizabeth Sears)
• 2015 Pamela AV Stewart:  Devotion to the Passion in Milanese Confraternities, 1500-1630: Image, Ritual, Performance.  (Directed by Megan Holmes)
• 2014 Katherine Brion:  Decorative Painting and Politics in France, 1890-1914.  (Directed by Howard Lay)
• 2014 Monique Johnson:  An Insistent Subject: The Countess de Castiglione Facing the Lens. (Directed by Susan Seigfried)
• 2014 Melanie Sympson:  Experiment and Visual Transformation in Illuminated Manuscripts of the Roman de la rose, c. 1338 - c. 1405.  (Directed by Elizabeth Sears)
• 2014 Kathy Yusuf Zarur:  Self-Portraiture and the Rise of "Arab" Art: Tarek Al-Ghoussein, Hassan Musa and Walid Raad.  (Directed by Matthew Biro and Nadine Naber)
• 2013 Rebecca Bieberly:  "Seeing" the "Ordinary" at Lingyan Temple in Eleventh-Century China. (Directed by Kevin Carr and Martin Powers)
• 2013 Bridget Gilman:  Re-envisioning Everyday Spaces:  Photorealism in the San Francisco Bay Area.  (Directed by Matthew Biro)
• 2013 Elissa Park:  Negotiating the Discourse of the Modern in Art: Pan Yuliang (1895-1977) and the Transnational Modern.  (Directed by Martin Powers)
• 2013 Silvia Tita:  Political Art of the Papacy: Visual Representations of the Donation of Constantine in the Early Modern Period.  (Directed by Megan Holmes and Thomas Willette)
• 2013 Heather Vinson:  Repetitions: Memory and Making Degas's Ballet Classroom Series. (Directed by Howard Lay)
• 2012 Nadia Baadj:   "Monstrous creatures and diverse strange things": The Curious Art of Jan van Kessel I, 1626-1679.  (Directed by Celeste Brusati)
• 2012 Jessica Fripp:  Portraits of Artists and the Social Commerce of Friendship in Eighteenth- Century France.  (Directed by Susan Siegfried)
• 2012 Lauren Graber:  Gruppe SPUR and Gruppe GEFLECHT: Art and Dissent in West Germany, 1957-1968.  (Directed by Matthew Biro)
• 2012 Philip Guilbeau:  El Paular: Anatomy of a Charterhouse.  (Directed by Elizabeth Sears and Achim Timmermann)
• 2012 Marin Sullivan:  Material Dispersions: Sculpture, Photography, and International Interventions in Italy, 1962-72.  (Directed by Alex Potts)
• 2011 Heather Badamo:  Image and Community: Representations of Military Saints in the Medieval Eastern Mediterranean.  (Directed by Elizabeth Sears and Thelma Thomas)
• 2011 Christopher Coltrin:  Apocalyptic Progress: The Politics of Catastrophe in the Art of John Martin, Francis Danby, and David Roberts.  (Directed by Susan Siegfried)
• 2011 Ksenya A Gurshtein:   TransStates:  Conceptual Art in Eastern Europe and the Limits of Utopia.  (Directed by Alex Potts)
• 2011 Katharine Raff:  Painted Decoration in the Apartments of Roman Ostia: Standardization, Social Status, and Visual Experience.  (Directed by Elaine Gazda)
• 2010 Monica Huerta:  Encountering Mimetic Realism: Sculptures by Duane Hanson Robert Gober  and Ron Mueck.  (Directed by Pat Simons and Rebecca Zurier)
• 2010 Christina Chang:   The End of Painting.   (Directed by Alex Potts)
• 2010 Kathie Hornstein:   Episodes in Political Illusion: The Proliferation of War Imagery in France (1804-1856).   (Directed by Susan Siegfried)
• 2010 Heidi Gearhart:   Theophilus' On Diverse Arts: the persona of the artist and the production of art in the twelfth century.   (Directed by Elizabeth Sears)

2000 - 2009

• 2009 Kirsten Olds:   Networked Collectivities:  North American Artists' Groups, 1968-1978. (Directed by Alexander Potts)
• 2009 Bo Liu:   Political Expression in Song Dynasty Fan Painting.  (Directed by Martin Powers)
• 2008 Christopher Bennett:   Boetti and Pascali, Two Case Studies (1965-70): Revisiting Arte Povera after the fall of the Berlin Wall.  (Directed by Alexander Potts)
• 2008 Jen Yi Lai:   Cultural Identity and the Making of Modern TaiwanesePainting During the Japanese Colonial Period (1895-1945).  (Directed by Celeste Brusati and Joel Isaacson)
• 2008 Min Yong Cho:   How Land Came into the Picture: Rendering History in Fourteenth-Century Iran.  (Directed by Martin Powers and Sussan Babaie)
• 2008 Diana Bullen-Prescuitti:  The Visual Culture of the Central Italian Foundling Hospital, 1400-1600.   (Directed by Megan Holmes)
• 2007 Jong Phil Park:   Ensnaring the Public Eye: Painting Manuals of Late Ming China (1550-1644) and the Negotiation of Taste.   (Directed by Martin Powers)
• 2007 Angela Ho:   Rethinking Repetition: Constructing Value in Dutch Genre Painting, 1650s to 1670s.  (Directed by Celeste Brusati)
• 2007 Joan Downs:   The Topography and Iconography of Death in Christian North Africa.  (Directed by Thelma Thomas)
• 2007 Jeffrey Lieber:   Pervasive Beauty: Modern Architecture and Mass Democracy at Mid-Century.   (Directed by Alexander Potts)
• 2006 Heather Flaherty:  The Place of the Speculum Humanae Salvationis in the Rise of Affective Piety in the Later Middle Ages . (Directed by Elizabeth Sears)
• 2006 Sean Roberts:   Cartography Between Cultures: Francesco Berlinghieri’s ‘Geographica’ of 1482.  (Directed by Patricia Simons)
• 2006 Timothy McCall:   Networks of Power: The Art of Patronage of Pier Maria Rossi of Parma. (Directed by Patricia Simons)
• 2005 Leela Wood:   The Buddha and the Shape of Belief: Indic Visual Jatakamalas.   (Directed by Luis Gomez and Martin Powers)
• 2005 Tatiana Senkevitch:   Printmaking's Perspectives Abraham Bosse and the Pedagogic Debates at the French Academy 1648 - 1661.   (Directed by Celeste Brusati)
• 2005 Sandra Seekins:   Stelarc: Peformance Art, Technology & Gender.  (Directed by Patricia Simons)
• 2005 Natsu Oyobe:   Materials that scream: Yoshihara Jiro and the Early Years of the Guai Art: Assoc. (1954-1970).   (Directed by Martin Powers and Kevin Carr)
• 2005 Carmenita Higgenbotham:   Saturday Night at the Savoy: Blacknes and Urban Spectacle in the Art of Reginald Marsh.   (Directed by Rebecca Zurier)
• 2005 Chris Defay:  Art, Enterprise, Collaboration: Richard Serra and the Art of Technology Program,   1966 – 1979.   (Directed by Alexander Potts)
• 2004 Yao-Fen You:   Import / Export:  A Case Study of Brabantine Alterpieces in the Rhineland, 1500 – 1530.   (Directed by Celeste Brusati)
• 2004 Alexandra Schwartz:   Designing Ed Ruscha: The Invention of the Los Angeles Artist, 1960 – 1980.  (Directed by Alexander Potts and Maria Gough)
• 2004 Julia Perlman:   Taking Aim at Amore: Michelangelo, Bronzino and the Lexico of Pictorial Ambiguity in Representations of Venus and Cupid.   (Directed by Patricia Simons)
• 2004 Catherine McCurrach:   The Veneration of St. Benedict in Medieval Rome: Parish Architecture, Monumental Imagery, and Popular Devotion.   (Directed by Caroline Bruzelius and Elizabeth Sears)
• 2004 Allison MacDuffee:   Camille Pissaro: Modernism, Anarchism, and the Representation of ‘The People’ 1888 – 1903.  (Directed by Howard Lay)
• 2004 Lisa Langlois:   Exhibiting Japan: Gender and National Identity at the World’s Columbian Exposition of 1893.   (Directed by Jonathan Reynolds and Patricia Simons)
• 2004 Douglas Hildebrecht:   Otto Marseus van Schrieck (1619 / 20 - 1678) and the Nature Piece: Art, Science, Religion, and the Seventeenth – Century Pursuit of Natural Knowledge.  (Directed by Celeste Brusati)
• 2004 Mariana D. Giovino:   Interpretations of the ‘Assyrian Sacred Tree,’ 1849-2004 .  (Directed by Margaret Root)
• 2004 Lisa Bessette:   Early Medieval Visualization of the Contents of the Psalms . (Directed by Elizabeth Sears)
• 2003 Elizabeth Otto:   Figuring Gender: Photomontage and Cultural Critique in Germany’s Weimar Republic . (Directed by Matthew Biro)
• 2003 Susan Jung Lee:   The Sooji Screens and Teinai Yurakuzu . (Directed by Martin Powers and Jonathan Reynolds)
• 2003 Wen-Chien Chang:   Images of Happy Farmers in Song China (960-1279): Drunks, Politics and Social Identity.  (Directed by Martin Powers)
• 2003 Laura Bassett:   The Paintings and Carreer of Cornelius De Man: Art and Mercantile Culture in Seventeenth-Century Delft.   (Directed by Celeste Brusati)
• 2002 Mary Louise Totton:   Weaving Flesh and Blood into Sacred Architecture: Ornamental Stories of Candi Loro Jonggrang.   (Directed by Walter Spink)
• 2002 George Kuwayama:  Chinese Ceramics in colonial Latin America . (Directed by Martin Powers)
• 2002 Roslyn Lee Hammers:  The Production of Good Government: Images of Agrarian Labor in Southern Song (1272 / 79 – 1368).   (Directed by Martin Powers)
• 2002 Jane H. Carpenter:  Conjure Woman:  Betye Saar and Rituals of Transformation, 1960-1990  (Directed by Jacqueline Francis and Richard Candida Smith)
• 2002 Nancy Anderson:  Observing Techniques: Images from Microscopial Life Sciences, 1850-1895 . (Directed by Celeste Brusati and Martin Pernick)
• 2001 Irene Leung:   The Frontier Imaginary in the Song Dynasty (960-1279):  Revisiting Cai Yan’s “Barbarian Captivity” and Return.   (Directed by Martin Powers)
• 2000 Christina Waugh:   Style-Consciousness in Fourteenth-Century Society and Visual Communication in the Moralized Bible of John the Good.   (Directed by Elizabeth Sears)
• 2000 Maureen Shanahan:   Forging Men and Manufacturing Women:  Fernan Leger’s Mechanical Arts. (Directed by Matthew Biro)
• 2000 Kathryn Selig-Brown:   Handprints and Footprints in Tibetan Painting.   (Directed by Walter Spink)
• 2000 Jonathan Perkins:   Klee and Eros.   (Directed by Diane Kirkpatrick)
• 2000 Jonathan Binstock:   Sam Gilliam:  The Making of a Career, 1962-1973.  (Directed by D. Kirkpatrick and S. Patton)

1990 - 1999

• 1999 Melanie Holcomb:   The Function and Status of Carved Ivory in Carolingian Culture Metropolitan Museum.  (Directed by Elizabeth Sears and Ilene Forsyth) 
• 1999 Andrew Campbell:   Negotiating the Archive: Photography, Authority and Cultural Memory, 1861-1876.   (Directed by Diane Kirkpatrick)
• 1999 Kirsten Buick:   The Sentimental Education of Mary Edmonia Lewis:  Identity, Culture and Ideal Works.   (Directed by S. Patton and Diane Kirkpatrick)
• 1999 Tamara Bentley:   Authenticity in a New Key:  Chen Hongshou’s Figurative Oevre, “Authentic Emotion,” and the Late Ming Market.   (Directed by Martin Powers)
• 1999 Jasmine Alinder:   Out of Site:  Photographic Representations of Japanese American Internment.  (Directed by Diane Kirkpatrick)
• 1999 Kirk Ambrose:   Romanesque Vezeley:  The Art of Monastic Contemplation.   (Directed by Ilene Forsyth and Elizabeth Sears)
• 1998 Jane Chung-Apley:   The Illustrated Vie et Miracles de Saint Louis of Guillame de Saint-Pathus (Paris, B.N., ms. fr. 5716).   (Directed by Elizabeth Sears)
• 1997 Monika Schmitter:   The Display of Distinction:  Art Collecting and Social Status in Early Sixteen Century Venice.   (Directed by Patricia Simons)
• 1997 Rebecca Price-Wilkin:   The Late Gothic Abbey Church of Saint-Riquier:  An Investigation of Historical Consciousness.   (Directed by Ilene Forsyth and Neagley)
• 1997 Marcelle Hourt Pour:   Charles Blanc and the Gazette des Beaux-Arts: 1859-1870. (Directed by J. Isaacson and Celeste Brusati)
• 1997 Leslie Cavall:   Social and Symbolic Functions of the Romanesque Façade: The Example of Maeacon’s Last Judgement Gailee.   (Directed by Ilene Forsythe)
• 1996 Lisa J. De Boer:   Martial Arts:  Military Themes and Images in Dutch Art of the Golden Age. (Directed by Celeste Brusati)
• 1996 Mayra V. Rodriguez:   Austere Late Gothic:  The Architecture of the Collegiate Church of the Notre-Dame at Clery-Saint-Andre.  (Directed by Ward Bissell and Linda E. Neagley)
• 1996 Molly M. M. Lindner:   The Vestal Virgins and Their Imperial Patrons:  Sculptures and Inscriptions from the Atrium Vestae in the Roman Forum.  (Directed by Elaine Gazda)
• 1996 Rita S. Goodman:   Theodore Gericault's Portraits of the Insane:  Art, Psychiatry and the Politics of Philanthropy.  (Directed by Thomas Crow and Joel  Isaacson)
• 1995 Katharine Persis Burnett:   The Landscapes of Wu Bin (C. 1543-C. 1626) and a Seventeenth-Century Discourse of Originality.   (Directed by Richard Edwards & Martin Powers)
• 1995 Charlene Marianna Villasenor Black:   Saints and Social Welfare in Golden Age Spain: The Imagery of the Cult of Saint Joseph   (Directed by R. Ward Bissell)
• 1995 Carmen Belen Lord:   Point and Counterpoint:  Ramon Casas in Paris and Barcelona, 1866-1908  (Directed by Joel Isaacson)
• 1995 S. Richard Rand:   Representing the Picturesque Garden:  The Landscapes of Fragonard (Directed Hood Museum of Art by T. Crow and J. Isaacson)
• 1995 David J. O'Brien:   The Art of War:  Antoine-Jean Gros and French Military Painting, 1795-1804  (Directed by J. Isaacson and T. Crow)
• 1995 John Andrew Listopad:   The Art and Architecture of the Reign of Somdet Phra Narai (Directed by Walter Spink)
• 1995 Natalija Natasha Kuzmanovic:   John Paul Cooper (1869-1933), Designer and Craftsman (Directed by William Hennessey and Marvin Eisenberg)
• 1994 Derrick Randall Cartwright:   Reading Rooms:  Interpreting the American Public Library 1890-1930  (Directed by J. Isaacson)
• 1994 Todd Philip Olson:   Nicolas Poussin, His French Clientele and the Social Construction of  Style  (Directed by T. Crow and P. Simons)
• 1994 Masuyo Tokita Darling :   The Romanesque Architecture and Sculpture of Perrecy-Les-Forges  (Directed by Ilene H. Forsyth)
• 1994 Elizabeth Horton Sharf:   Abaku Zen Portrait Painting:  A Revisionist Analysis (Directed by Karen L. Brock and Walter Spink)
• 1994 John Tadao Teramoto:   The Yamai No Soshi:  A Critical Reevaluation of Its Importance to Japanese Secular Painting of the Twelfth Century  (Directed by Paul Berry and Jonathan Reynolds)
• 1994 Masumi Iriye:   Le Vau's Menagerie and the Rise of the Animalier: Enclosing, Dissecting, and Representing Animal in Early ModernFrance  (Directed by Nathan T. Whitman and Graham Smith)
• 1994 John Siewert:  Whisler's Nocturnes and the Aesthetic Subject  (Directed by J. Isaacson)
• 1994 David Acton:   Hendrik Goltzius and Rudolfine Mannerism in the Graphic Arts (Directed by Graham Smith)
• 1993 Timothy A. Motz:   The Roman Freestanding Portrait Bust:  Origins, Context, and Early History  (Directed by E. Gazda)
• 1993 Giovanna D Costantini:  Maesta: Humanism and the Art of Francisco Zuniga (Directed by D. Kirkpatrick)
• 1993 Bille Wickre:   Collaboration in the Work of Margaret Macdonald, Frances Macdonald, Charles Rennie Mackintosh and J. Herbert MacNair  (Directed by J. Isaacson and D. Kirkpatrick)
• 1993 Nathan P. Griffith:   Richard Serra and Robert Irwin:  Phenomenology in the Age of Art and Objecthood  (Directed by D. Kirkpatrick)
• 1993 Barbara Lee Tannenbaum:   The Paintings of Seymour Rosofsky  (Directed by D.Kirkpatrick)
• 1993 Robert E. Haywood:   Revolution of the Ordinary:  Allan Kaprow Invention of Happenings (Directed by Joel Isaacson and Thomas Crow)
• 1992 Susan Elizabeth Ryan:   Figures of Speech:  The Art of Robert Indiana, 1958-73  (Directed by Diane Kirkpatrick)
• 1992 Eun-wha Park:   The World of Idealized Reclusion:  Landscape Painting of Hsiang Sheng-Mo (1597-1658)  (Directed by Richard Edwards and Walter Spink)
• 1992 Gabrielle Langdon:   Decorum in Portraits of Medici Women at the Court of Cosimo, 1537-1574  (Directed by R. W. Bissell and G. Smith)
• 1992 Jean Ann Dabb:   The Church of St. Nicolas at Civrey: The Facade and its Sculptural Mary Decoration  (Directed by I. H. Forsyth)
• 1991 Martha J. McClintock:   Okuhara Seiko (1837-1913):  The Life and Arts of a Period Literati Artist  (Directed by Paul Berry)
• 1991 Victoria L. Weston:   Modernization in Japanese-Style Painting:  Yokoyama Taikan (1868-1958) and the Morotai Style  (Directed by Paul Berry)
• 1991 Jasmin W. Cyril:   The Imagery of San Bernardino Da Siena, 1440-1500:  An Iconographic Study  (Directed by M. Eisenberg & R. W. Bissell)
• 1991 Chuhui Judy Lai:   The Han Representation of exemplary Women:  Context and  Interpretation  (Directed by Martin J. Powers)
• 1991 Carolyn Marie Carty:   Dreams in Early Medieval Art  (Directed by Ilene Forsyth)
• 1990 Janice Simon:   The Crayon, 1855-1861:  The Voice of Nature in Criticism, Poetry, and the Fine Arts  (Directed by David Huntington)
• 1990 Woodard Openo:   The Summer Colony at Little Harbor in Portsmouth, New Hampshire and Its Relation to the Colonial Revival Movement  (Directed by David Huntington)
• 1990 Elizabeth Higashi:   Conical Glass Vessels from Karanis:  Function and Meaning in a Pagan/Christian Context in Rural Egypt  (Directed by Margaret Root)

1980 - 1989

• 1989 Joan O'Mara:   The Haiga Genre and the Art of Yosa Buson  (1716-84) (Directed by W. Spink)
• 1989 Elizabeth Pilliod:   Studies on the Early Career of Alessandro Allori  (Directed by Graham Smith)
• 1989 Stephen A. Markel:   The Origin and Early Development of the Nine Planetary Deities Mus\Art (Navagraha)  (Directed by Walter Spink)
• 1989 Marshall Wu:  Chin Nung:   An Artist with a Wintry Heart  (Directed by Richard Edwards and Paul Berry)
• 1989 M. Carol Morland:   Watanabe Kazan 1793-1841:  Tradition and Innovation in Japanese Painting  (Directed by Paul Berry)
• 1989 Karen Kleinfelder:   The Theme of the Artist and Model in Picasso's Late Graphics  (Directed by R. Arnheim & Victor Miesel)
• 1989 Diane Tepfer:   Edith Gregor Halpert and the Downtown Gallery Downtown: 1926-1940; A Study in American Art Patronage  (Directed by Diane Kirkpatrick)
• 1988 Laurie Taylor-Kelley (Mitchell):   The Horizontal Tuscan Panel, 1200-1365:  Frame Format and Pictorial Composition  (Directed by R. Arnheim & Marvin Eisenberg)
• 1988 Kathleen A. Pyne:   Immanence, Transcendence, and Impressionism in Late Nineteenth- Century American Painting  (Directed by David C. Huntington)
• 1987 Beverly Orlove Held:   "To Instruct and Improve...To Entertain and Please" American Civic Protests and Pageants 1765-1784  (Directed by David C. Huntington)
• 1987 Linda J. Wolk:   Studies in Perino Del Vaga's Early Career  (Directed by Graham Smith)
• 1987 Erica Susanna Trimpi:   Matteo Di Giovanni:  Documents and a Critical Catalogue of His Panel Paintings   (Directed by Marvin Eisenberg)
• 1987 Barbara K. Schnitzer:   The 16th Century French Ceramic Ware called Saint-Porchaire (Directed by Nathan Whitman)
• 1987 Robert Alan Benson:   Douglas Putnam Haskell (1899-1979) The Early Critical Writings (Directed by Leonard Eaton)
• 1986 Christine M. Nelson Ruby:   Art for the People:  Art in Michigan Sponsored by the Treasury Section of Fine Arts, 1934-1943  (Directed by D. Kirkpatrick)
• 1986 Catherine Elna Fruhan:   Trends in Roman Sculpture Circa 1600  (Directed by R. Ward Bissell)
• 1986 Pearson M. Macek:   The Westminster Retable: A Study in English Gothic Panel Painting  (Directed by Marvin Eisenberg & Christine Verzar Bornstein)
• 1985 Paul A. Berry:   Tanomura Chikuden 1777-1835: Man Amidst the Mountains Japan F'97 (Directed by Cal French)
• 1985 Marjorie L. Harth:   Robert Hudson Tannahill (1893-1969) Patron and Collector (Directed by M. Eisenberg & Charles Sawyer)
• 1985 Marion E. Jackson:   Baker Lake Inuit Drawings:  A Study in the Evolution of Artistic Self-Consciousness  (Directed by Evan M. Maurer)
• 1985 Michael A. Marlais:   Anti-Naturalism, Idealism and Symbolism in French Art Criticism, 1880-1895  (Directed by Joel Isaacson)
• 1985 Frank I. Heckes:   Supernatural Themes in the Art of Francisco De Goya  (Directed by Joel Isaacson & H. E. Wethey)
• 1985 Eleanor Mannikka:   Angkor Wat:  Meaning Through Measurement  (Directed by W. Spink & H. Woodward, Jr.)
• 1985 Sung-woo Kim:   History and Design of the Early Buddhist Architecture in Korea  (Directed by Leonard Eaton & Richard Edwards)
• 1984 Sadako Ohki:   Ike Taiga's "Karayo Calligraphy  (Directed by Cal French)
• 1984 Matthew L. Rohn:   Visual Dynamics in Jackson Pollock's Abstractions  (Directed by Rudolf Arnheim & Diane Kirkpatrick)
• 1984 Marjorie J. Panadero (Hall):   The Labors of the Months and the Signs of the Zodiac in 12th-Century French Facades  (Directed by I. H. Forsyth)
• 1984 Vishakha N. Desai:   Connoisseur's Delights:  Early "Rasikapriya" Paintings in India (Directed by Walter M. Spink)
• 1984 Shelley K. Perlove:   Gianlorenzo Bernini's Blessed Lodovica Albertoni and Baroque Devotion  (Directed by R. Ward Bissell)
• 1984 Beth E. Genne:   The Film Musicals of Vincente Minnelli and the Team of Gene Kelly and Stanley Donen: 1944-1958  (Directed by Diane Kirkpatrick)
• 1984 James J. Robinson:   The Vitality of Style:  Aspects of Flower and Bird Painting During the Yuan Dynasty (1279-1368)  (Directed by Richard Edwards)
• 1983 Phylis A. Floyd:   Japonisme in Context:  Documentation, Criticism, Aesthetic Reactions (Directed by Joel Isaacson)
• 1983 Ellen A. Plummer:   The Eighteenth-Century Rebuilding of S. Croce in Gerusalemme, Rome (Directed by N. T. Whitman)
• 1983 Marilyn E. Leese:  The Traikutaka Dynasty and Kanheri's Second Phase of Buddhist Cave Excavation  (Directed by Richard Edwards)
• 1983 Maribeth Graybill:   Kasen-e An Investigation into the Origins of the Tradition of Poet Pictures in Japan  (Directed by Cal French)
• 1983 Barbara J. Haeger:   The Religious Significance of Rembrandt's "Return of the Prodigal Son":  An Examination of the Picture in the Context of the Visual and Iconographic Tradition  (Directed by N. T. Whitman)
• 1983 William R. Levin:   Studies in the Imagery of Mercy in Late Medieval Italian Art (Directed by Christine Bornstein & M. Eisenberg)
• 1983 John B. Hunter III:   The Life and Work of Girolamo Siciolante da Sermoneta  (Directed by G. Smith & R. Ward Bissell)
• 1983 Elizabeth M. B. Gosling:   The History of Sukhothai as a Ceremonial Center: A Study of Early Siamese Architecture and Society  (Directed by H. W. Woodward, Jr. and Walter M. Spink)
• 1983 Daniel E. O'Leary:   Harmony and Ritualistic Allusion in the Tornabuoni Chapel in Santa Maria Novella  (Directed by Graham Smith)
• 1983 Leonard B. Darling, Jr.:   The Transformation of Pure Land Thought and the Development of Shinto Shrine Mandala Paintings:    Kasuga and Kumano  (Directed by Cal French)
• 1983 Harry Murutes:   Lorenzo Lotto's Major Altarpieces of the "Enthroned" Madonna with Saints":  Doctoral Meaning, Sources, and Expression  (Directed by H. E. Wethey and R. Ward Bissell)
• 1982 Kenneth A. Breisch:   Small Public Libraries in America 1850-1890:  The Invention and Evolution of a Building Type  (Directed by Leonard K. Eaton)
• 1982 Jacquelynn Baas:   Auguste Lepere and the Artistic Revival of the Woodcut in France, 1875-1895  (Directed by J. Isaacson)
• 1981 Alice R. Merrill (Hyland):   Wen Chia (1501-1583), Derivation and Innovation  (Directed by R. Edwards)
• 1981 David M. Kowal:   The Life and Art of Francisco Ribalta  (Directed by R. W. Bissell)
• 1981 Stephanie Spencer:   O. G. Rijlander--Art Photographer  (Directed by D. C. Huntington)
• 1981 Jeremy Adamson:   Frederic Edwin Church's "Niagara":  The Sublime as Transcendence (Directed by D. Huntington)
• 1981 Dennis Costanzo:   Cityscape and the Transformation of Paris During the Second Empire (Directed by Joel Isaacson)
• 1981 Toh Sugimura:   The Chinese Impact on Certain 15th-Century Persian Miniature Paintings from the Albums (Hazine Library Nos. 2153, 2154, 2160) in the Topkapi of Ethnology, Sarayi Museum, Instanbul  (Directed by R. Edwards and C. French)
• 1981 Steve J. Goldberg:   Court Calligraphy in the Early T'ang Dynasty  (Directed by R. Edwards and C. French)
• 1981 Kathe B. Geist:   The Cinema of Wim Wenders 1967 to 1977  (Directed by D. Kirkpatrick)
• 1980 Carole Drachler:   The Gallery and Art Collection of Henry Clay Lewis  (Directed by D. Huntington)
• 1980 Janice Schimmelman:   The Spirit of Gothic:  The Gothic Revival House in Nineteenth- Century America  (Directed by D. Huntington)
• 1980 Ann T. Brown:   Non-Narrative Elements in Tuscan Gothic Frescoes  (Directed by M. Eisenberg)
• 1980 Chi-sheng Kuo:   The Paintings of Hung-Jen  (Directed by R. Edwards)
• 1980 Sewall Oertling:   Ting Yun-p'eng:  A Chinese Artist of the Late Ming Dynasty  (Directed by R. Edwards)
• 1980 Jane Block:   Les II and Belgiam Avant-gardism, 1868-1894  (Directed by V. Miesel)
• 1980 Sara Schastok:   6th-Century Indian Sculptures from Samalaji:  Style & Iconography (Directed by W. Spink)

1940 - 1979

• 1979 Michael Browne:  Kawahara Keiga:   The Painter of Deshima  (Directed by C. French)
• 1979 Louise Yuhas:   The Landscape Painting of Lu Chih (1496-1576) An Analysis of the Style of a Sixteenth-Century Soochow Painter  (Directed by R. Edwards)
• 1979 Warren Tresidder:   The Classicism of the Early Works of Titian:  Its Sources and Character  (Directed by R. Ward Bissell)
• 1979 I. Job Thomas:   Painting in Tamil Nadu A.D. 1350-1650  (Directed by W. Spink)
• 1979 Melinda Takeuchi:   Visions of a Wanderer:  The True View Paintings of Ike Taiga (1723-1776)  (Directed by C. French)
• 1979 Susan Feinberg:   Sir John Soane's "Museum":  An Analysis of the Architect's House-Museum in Lincoln's Inn Fields, London  (Directed by David Huntington)
• 1979 Michael Davis:   The Cathedral of Clermont-Ferrand  (Directed by C. Olds)
• 1979 Vicky Clark:   The Illustrated "Abridged Astrological Treatises of Albumasar" (Directed by C. Olds and C. Bornstein)
• 1979 Ghazi Bisheh:   The Mosque of the Prophet at Madinah Throughout the First Century A. H., with Special Emphasis on the Umayyad Mosque  (Directed by P. Soucek)
• 1979 Ali El Ballush:   A History of Libyan Mosque Architecture During the Ottoman and Libya Karmanli Period (1551-1911) Evolution, Development and Typology  (Directed by Pricilla Soucek)
• 1978 Robert Neuman:   Robert De Cotte, Architect of the Late Baroque  (Directed by N. T. Whitman)
• 1978 William Jensen:   The Sculptures of the Tomb of the Haterii  (Directed by C. Olds)
• 1978 Mona Kathryn Horste:   The Capitals of the Second Workshop from the Romanesque Law School Cloister of La Daurade, Toulouse  (Directed by I. H. Forsyth)
• 1978 Mary Faith Mitchell Grizzard:   Bernardo Martorell:  15th-Century Catalan Artist  (Directed by C. Olds)
• 1978 Dan Ewing:   The Paintings & Drawings of Jan de Beer  (Directed by C. Olds)
• 1978 Robert Del Bonta:   The  Hoysala Style: Architectural Development & Artists, 12th & 13th Centuries A.D.  (Directed by W. Spink)
• 1978 Wichit Charernbhak:   Architectural Criticism as Reflected in Publication on Chicago Commercial Architecture in the 1880s and 1890s  (Directed by David Huntington)
• 1978 Penelope Brownell:   The Venetian Painter, Francesco Maffei (1620-1660)  (Directed by H. E. Wethey)
• 1978 Doris Birmingham:   Andre Masson in America:  The Artist's Achievement in Exile, 1941-1945  (Directed by V. Miesel)
• 1978 Julie Badiee:   An Islamic Cosmography:  The Illustrations of the Sarre Qazwini  (Directed by P. Soucek)
• 1977 Jean Weir:   Timberline Lodge:  A WPA Experiment in Architecture and Crafts  (Directed by D. Huntington)
• 1977 Charles Walters:   Hiram Powers and William Rimmer:   A Study in the Concept of Expression  (Directed by D. Huntington)
• 1977 Walter Thompson:   The Domed Entry Pavilion in French Classical Architecture: Its Origin, Evolution and Interpretation  (Directed by N. T. Whitman)
• 1977 Richard Swain:  “ Le Jardin de Plaisir” in Tudor and Stuart England  (Directed by D. Huntington)
• 1977 Edwin L. Rifkin:   Antonioni's Mise-En-Scene:  Elements of a Visual Language  (Directed by D. Kirkpatrick)
• 1977 Margaret Rajam:   The Fresco Cycle by Spinello Arentino in the Sala Di Balia, Siena: Imagery of Pope and Emperor  (Directed by M. Eisenberg)
• 1977 Dorothy Habel (Metzger):   Piazza S. Ignazio, Rome in the 17th and 18th Centuries (Directed by N. T. Whitman)
• 1977 Forest McGill:   The Art and Architecture of the Reign of King Prasatthong of Ayutthaya (1629-1656)  (Directed by W. Spink & H. Woodward)
• 1977 Martha Agnew (Fader):   Sculpture in the Piazza della Signoria as Emblem of the Florentine Republic  (Directed by M. Eisenberg)
• 1977 Roger Berkowitz:   Benjamin Smith, Sr., Regency Silversmith  (Directed by M. Eisenberg)
• 1977 Susan Barnes:   Giacomo Balla: His Life and Work 1871 to 1912  (Directed by V. Miesel)
• 1977 Stephen Addiss:   Uragami Gyokudo:  The Complete Literati Artist  (Directed by Cal French)
• 1976 Gail Weigl:   Foundations of a Momoyama Theme:  Birds & Flowers of the Four Seasons in a Landscape  (Directed by Cal French)
• 1976 Law Watkins:   The Brancacci Chapel Frescoes:  Meaning and Use  (Directed by R. Ward Bissell)
• 1976 Grace Vlam:   Western-Style Secular Painting in Momoyama Japan  (Directed by C. French)
• 1976 Duncan Kinkead:   Juan de Valdes Leal (1622-1690):  His Life and Work  (Directed by H. E. Wethey)
• 1976 Diane Upright (Headley):   Morris Louis:  The Mature Paintings 1954-1962  (Directed by Diane Kirkpatrick)
• 1976 Billie Thompson Fischer:   The Sculpture of Valerio Cioli 1529-1599  (Directed by Graham Smith)
• 1976 Gerald Carr:   The Commissioners' Churches of London, 1818-1837:  A Study of Religious Art, Architecture & Patronage in Britain from the Formation of the Commission to the Accession of Victoria  (Directed by D. Huntington)
• 1976 Katherine R. Bateman:   St. Albans, Its Ivory and Manuscripts Workshops: A Solution to the St. Albans Bury, St. Edmunds Dilemma  (Directed by C. Olds)
• 1975 Kathleen Raben Castiello:   The Italian Sculptors of the United States Capitol: 1806-1834 (Directed by D. Huntington)
• 1975 Ryan Howard:   Pedro Duque de Cornejo, Andalusian Sculpture 1678-1757  (Directed by H. E. Wethey)
• 1975 Sharon Rich Harrison:   A Catalogue of the Etchings of Odilon Redon  (Directed by J. Isaacson)
• 1975 James Collier:   Linear Perspective in Flemish Painting and the Art of Petrus   Christus and Dirk Bouts  (Directed by C. Olds)
• 1974 Joanne Winjum:   The Canterbury Roundels  (Directed by C. Olds)
• 1974 John Steyaert:   The Sculpture of St. Martin's in Halle and Related Netherlandish Works (Directed by C. Olds)
• 1974 Charles Rosenberg:   Art in Ferrara During the Reign of Borso d'Este, 1450-1471 (Directed by E. Verheyen)
• 1974 Milan Mihal:  Sakai Hoitsu:   A Catalogue Raisonne of Selected Works  (Directed by C. French)
• 1974 Deborah C. Brown (Levine):  The Victoria and Albert Museum Akbar-Nama:  A Study in History, Myth and Image  (Directed by W. Spink)
• 1974 Bernard Bonario:  Marco Basaiti:   A Study of the Venetian Painter and a Catalogue of his Works  (Directed by H. E. Wethey)
• 1974 Sister Johanna Becker:   The Karatsu Ceramics of Japan:  Origins, Fabrications, and Types (Directed by C. French)
• 1974 Richard Axsom:   Parade:  Cubism as Theatre  (Directed by J. Isaacson)
• 1974 Leila Avrin:   The Illumination of the Moshe Ben-Asher Codex of 895 C.E.  (Directed by C. Olds)
• 1973 Victoria Thorson:   The Drawings of Rodin in America  (Directed by V. Miesel)
• 1973 Michael Stoughton:   The Paintings of Giovanni Battista Caracciolo  (Directed by H. E. Wethey)
• 1973 Barbara Carlisle (Rutledge):   The Theatrical Art of the Italian Renaissance: Interchangeable Conventions in Painting and Theatre in the Late 15th & Early 16th Centuries  (Directed by N. Whitman)
• 1973 Betty Monroe:   Okada Beisanjin (1744-1820):  Transitional Bunjinga  (Directed by R. Edwards)
• 1973 Richard Janke:   Janin Lomme and Late Gothic Sculpture in Navarre  (Directed by H . E. Wethey)
• 1973 Annemarie Weyl Carr:   The Rockefeller-McCormick New Testament  (Gregory 2400) (Directed by I. H. Forsyth)
• 1973 Laurel Blank Andrew:   19th Century Mormon Architecture  (Directed by D. Huntington)
• 1972 Peter Bermingham:   Importation and Influence on the School in America  (Directed by D. Huntington)
• 1971 Lois Drewer:   The Carved Wooden Beams of the Church of Justinian, Monastery of St. Catherine at Mount Sinai  (Directed by I. H. Forsyth)
• 1971 Jeannie Chenault (Porter):   Bradley Walker Tomlin Abstract Expressionist  (Directed by V. Miesel)
• 1971 Mary Cazort (Taylor):   The Drawings and Paintings of Ubaldo Gandolfi  (Directed by H. E. Wethey)
• 1971 Donald Kuspit:   Durer and the Northern Critics (1502-72)  (Directed by C. Olds)
• 1971 Fay Frick:   A Typology of Fustat Ceramics  (Directed by O. Grabar)
• 1970 John Varriano:   The Roman Church Commissions of Martino Longhi the Younger  (Directed by N. T. Whitman)
• 1970 Margret Pond Rothman:   A Sculpture Record of the Age of the Tetrarchies  (Directed by I. H. Forsyth)
• 1970 Robert Mode:   Famous Men and Women Illustration in 15th Century Italian Manuscripts  (Directed by M. Eisenberg)
• 1970 Edward Keall:   Significance of Parthian Nippur  (Directed by D. White)
• 1970 Beverly Heisner:   Aspects of Ecclesiastical Architecture of Viscardi  (Directed by N. T. Whitman)
• 1970 Geraldine Fowle:   The Biblical Paintings of Sebastian Bourdon  (1611-1671) (Directed by N. T. Whitman)
• 1970 James Caswell:   Early Cave Sculptures in Yun-Kang  (Directed by O. Grabar)
• 1970 Ulku Bates:   The Anatolian Mausoleum of the 12th, 13th and 14th Centuries  (Directed by O. Grabar)
• 1970 Janet Anderson:   Pedro de Mena:  Spanish Sculptor  (1628-1688) (Directed by H. E. Wethey)
• 1970 Mohamed Abd El Wahab:   Decorated Woodwork from Egyptian-American Collections (Directed by O. Grabar)
• 1969 David Wilkins:   Maso di Banco  (Directed by Marvin Eisenberg)
• 1969 Diane Kirkpatrick:   Edoardo Paolozzi  (Directed by V. H. Miesel)
• 1969 Esin Atil:   The illustration of the Sur-Nameh of Ahmet, the Third  (Directed by O. Grabar)
• 1968 Lisa Beth Golombeck:   Timurid Shrine at Gazur Gah: An Iconographical Interpretation of Timurid Architecture 1360-1506  (Directed by O. Grabar)
• 1968 Stanislaw Czuma:   The Brahmanical Rashtrakuta Monuments at Ellora  (Directed by Walter M. Spink)
• 1967 William Trousdale:   Sword-Scabbard Slides  (Directed by O. Grabar)
• 1967 Charles Meyer:   The Staircase of the Residenz at Wurzburg  (Directed by N. T. Whitman) 
• 1967 Ellen Johnston Laing:   The Theme of the Scholars Meeting in Chinese Painting  (Directed by R. Edwards)
• 1966 Theodore Turak:   William Le Baron Jenney  (Directed by Leonard Eaton)
• 1966 Margaret Damm Rolland:   The Mythological Paintings of Van Dyck  (Directed by H. E. Wethey)
• 1966 R. Ward Bissell:   Orazio Gentileschi  (Directed by H. E. Wethey)
• 1965 Gunar Inal:   The Fourteenth-Century Miniatures of the Jami Al-Tayarika in Returned to the Topkapi Museum in Instanbul  (Directed by O. Grabar & R. Edwards)
• 1964 Suzanne Edwards Lewis:   Early Christian Architecture in Milan  (Directed by G. H. Forsyth)
• 1963 John Williams:   The Bible of Leon of 960  (Directed by J. E. Snyder)
• 1961 Antanas Melnikas:   The Early Works of Gentile de Fabriano  (Directed by Marvin J. Eisenberg)
• 1961 Rosemary A. Marzolf:   The Life and Works of Juan Carreno de Miranda (1614-1685) (Directed by H. E. Wethey)
• 1960 H. Phillip Stern:   Ukiyoe Paintings  (Directed by J. M. Plumer)
• 1960 Mojmir Frinta:   The Master of the Beautiful Madonnas  (Late Gothic Sculpture in Bohemia) (Directed by J. E. Snyder)
• 1959 Victor Miesel:   The Classical Elements in the Paintings of Rubens  (Directed by  H. E. Wethey)
• 1959 Bernard Goldman:   The Oriental Background of Etruscan Culture  (Directed by Clark Hopkins)
• 1958 Glenn N. Patton:   Antonio Guerro y Torres and Mexican Architecture of the 18th Century (Directed by H. E. Wethey)
• 1958 James Cahill:   Wu Chen, His Life Paintings and Ideas  (Directed by Max Loehr)
• 1957 Marilyn Stokstad:   The Romanesque Sculpture of the Portico de la Gloria at Santiago de Compostela  (Directed by H. E. Wethey)
• 1957 Sister Mary Angelina Filipiak:   The Plans of the Convents of the Poor Clares in Central Italy in the 13th & 14th Centuries  (Directed by H. E. Wethey)
• 1956 Emma Mellencamp:   Renaissance Costume in Italian Painting 1450-1500  (Directed by H. E. Wethey and completed under M. Eisenberg)
• 1953 Robert Enggass:   The Religious Paintings of Giovanni Battista Gaulli  (Directed by H. E. Wethey)
• 1946 Harry A. Broad:   Contemporary American Lithography  (Begun under Bruce Donaldson & finished with J. G. Winter)
• 1940 Aloysius G. Weimer:   The Munich Period in American Art  (Directed by Bruce Donaldson & J. G. Winter)
• 1940 Paul McPharlin:   Puppets in American Life  (Directed by J. G. Winter)
• 1940 Florence Day:   Mesopotamian Pottery:  Parthian, Sassanian and Early Islamic (Begun under M. Aga-Oglu & finished with R. Ettinghausen)

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Edinburgh Research Archive

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Processual exploration of airbnb: facets of user governance, platform processes, and placemaking , glimmer before sunrise: qian song (1818-1860) and his elite art in nineteenth-century china , towards a poetics of revolution: a transnational approach to roberto matta's works from the 1960s and 1970s , 'mr syme's useful little work': the making of werner's nomenclature of colours (1814/1821) in early nineteenth-century edinburgh , cow, caste and contemporary art in india: aesthetic ecologies and social hierarchies in the twenty-first century , sounding the climate crisis: time and the more-than-human in contemporary folk music in scotland and england , indigenous landscapes in caspana: exploring a ch'ixi epistemology , new pulsar generator (nupg): compositional practice, digital sound synthesis model and their temporalities , 'we are such stuff': shakespeare and material culture in eighteenth-century england , wellbeing as a decision making criterion in urban park design: assessing urban parks on their effect on user wellbeing , forgotten images still resisting time: writing the london bomb damage photograph archive 1940 - 1945 , medicine and modernity: fifty years of nhs hospital building in scotland, 1948-1998 , farc musicians' musical identities and political identities through their music: analysis of their narratives, musical practices and songs in the colombian peace post-agreement , drawing-with eye-tracking technology: an exploratory art-based research investigating the adaptation of eye-tracking methodology as a contemporary artistic drawing practice , staging the carnivalesque: seditious strategies in print and performance from simplicissimus to berlin dada, 1896-1920 , differential space in underused town centres: community appropriation of space through creative practices of arts-led urban regeneration , spatial narratives of happiness in everyday environments , humour in fifteenth-century france: a study of visual evidence , diversity on display: a study on gentry-class women and their painting practice in the jiangnan region of high qing china , untangling collaboration: a critical study on the relationship between natural fibres artisans and designers in chile .

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Art History Resources

• Guidelines for Analysis of Art
• Formal Analysis Paper Examples

Guidelines for Writing Art History Research Papers

• Oral Report Guidelines
• Annual Arkansas College Art History Symposium

Writing a paper for an art history course is similar to the analytical, research-based papers that you may have written in English literature courses or history courses. Although art historical research and writing does include the analysis of written documents, there are distinctive differences between art history writing and other disciplines because the primary documents are works of art. A key reference guide for researching and analyzing works of art and for writing art history papers is the 10th edition (or later) of Sylvan Barnet’s work, A Short Guide to Writing about Art . Barnet directs students through the steps of thinking about a research topic, collecting information, and then writing and documenting a paper.

A website with helpful tips for writing art history papers is posted by the University of North Carolina.

Wesleyan University Writing Center has a useful guide for finding online writing resources.

The following are basic guidelines that you must use when documenting research papers for any art history class at UA Little Rock. Solid, thoughtful research and correct documentation of the sources used in this research (i.e., footnotes/endnotes, bibliography, and illustrations**) are essential. Additionally, these guidelines remind students about plagiarism, a serious academic offense.

Paper Format

Research papers should be in a 12-point font, double-spaced. Ample margins should be left for the instructor’s comments. All margins should be one inch to allow for comments. Number all pages. The cover sheet for the paper should include the following information: title of paper, your name, course title and number, course instructor, and date paper is submitted. A simple presentation of a paper is sufficient. Staple the pages together at the upper left or put them in a simple three-ring folder or binder. Do not put individual pages in plastic sleeves.

Documentation of Resources

The Chicago Manual of Style (CMS), as described in the most recent edition of Sylvan Barnet’s A Short Guide to Writing about Art is the department standard. Although you may have used MLA style for English papers or other disciplines, the Chicago Style is required for all students taking art history courses at UA Little Rock. There are significant differences between MLA style and Chicago Style. A “Quick Guide” for the Chicago Manual of Style footnote and bibliography format is found http://www.chicagomanualofstyle.org/tools_citationguide.html. The footnote examples are numbered and the bibliography example is last. Please note that the place of publication and the publisher are enclosed in parentheses in the footnote, but they are not in parentheses in the bibliography. Examples of CMS for some types of note and bibliography references are given below in this Guideline. Arabic numbers are used for footnotes. Some word processing programs may have Roman numerals as a choice, but the standard is Arabic numbers. The use of super script numbers, as given in examples below, is the standard in UA Little Rock art history papers.

The chapter “Manuscript Form” in the Barnet book (10th edition or later) provides models for the correct forms for footnotes/endnotes and the bibliography. For example, the note form for the FIRST REFERENCE to a book with a single author is:

1 Bruce Cole, Italian Art 1250-1550 (New York: New York University Press, 1971), 134.

But the BIBLIOGRAPHIC FORM for that same book is:

Cole, Bruce. Italian Art 1250-1550. New York: New York University Press. 1971.

The FIRST REFERENCE to a journal article (in a periodical that is paginated by volume) with a single author in a footnote is:

2 Anne H. Van Buren, “Madame Cézanne’s Fashions and the Dates of Her Portraits,” Art Quarterly 29 (1966): 199.

The FIRST REFERENCE to a journal article (in a periodical that is paginated by volume) with a single author in the BIBLIOGRAPHY is:

Van Buren, Anne H. “Madame Cézanne’s Fashions and the Dates of Her Portraits.” Art Quarterly 29 (1966): 185-204.

If you reference an article that you found through an electronic database such as JSTOR, you do not include the url for JSTOR or the date accessed in either the footnote or the bibliography. This is because the article is one that was originally printed in a hard-copy journal; what you located through JSTOR is simply a copy of printed pages. Your citation follows the same format for an article in a bound volume that you may have pulled from the library shelves. If, however, you use an article that originally was in an electronic format and is available only on-line, then follow the “non-print” forms listed below.

B. Non-Print

Citations for Internet sources such as online journals or scholarly web sites should follow the form described in Barnet’s chapter, “Writing a Research Paper.” For example, the footnote or endnote reference given by Barnet for a web site is:

3 Nigel Strudwick, Egyptology Resources , with the assistance of The Isaac Newton Institute for Mathematical Sciences, Cambridge University, 1994, revised 16 June 2008, http://www.newton.ac.uk/egypt/ , 24 July 2008.

If you use microform or microfilm resources, consult the most recent edition of Kate Turabian, A Manual of Term Paper, Theses and Dissertations. A copy of Turabian is available at the reference desk in the main library.

C. Visual Documentation (Illustrations)

Art history papers require visual documentation such as photographs, photocopies, or scanned images of the art works you discuss. In the chapter “Manuscript Form” in A Short Guide to Writing about Art, Barnet explains how to identify illustrations or “figures” in the text of your paper and how to caption the visual material. Each photograph, photocopy, or scanned image should appear on a single sheet of paper unless two images and their captions will fit on a single sheet of paper with one inch margins on all sides. Note also that the title of a work of art is always italicized. Within the text, the reference to the illustration is enclosed in parentheses and placed at the end of the sentence. A period for the sentence comes after the parenthetical reference to the illustration. For UA Little Rcok art history papers, illustrations are placed at the end of the paper, not within the text. Illustration are not supplied as a Powerpoint presentation or as separate .jpgs submitted in an electronic format.

Edvard Munch’s painting The Scream, dated 1893, represents a highly personal, expressive response to an experience the artist had while walking one evening (Figure 1).

The caption that accompanies the illustration at the end of the paper would read:

Figure 1. Edvard Munch, The Scream, 1893. Tempera and casein on cardboard, 36 x 29″ (91.3 x 73.7 cm). Nasjonalgalleriet, Oslo, Norway.

Plagiarism is a form of thievery and is illegal. According to Webster’s New World Dictionary, to plagiarize is to “take and pass off as one’s own the ideas, writings, etc. of another.” Barnet has some useful guidelines for acknowledging sources in his chapter “Manuscript Form;” review them so that you will not be mguilty of theft. Another useful website regarding plagiarism is provided by Cornell University, http://plagiarism.arts.cornell.edu/tutorial/index.cfm

Plagiarism is a serious offense, and students should understand that checking papers for plagiarized content is easy to do with Internet resources. Plagiarism will be reported as academic dishonesty to the Dean of Students; see Section VI of the Student Handbook which cites plagiarism as a specific violation. Take care that you fully and accurately acknowledge the source of another author, whether you are quoting the material verbatim or paraphrasing. Borrowing the idea of another author by merely changing some or even all of your source’s words does not allow you to claim the ideas as your own. You must credit both direct quotes and your paraphrases. Again, Barnet’s chapter “Manuscript Form” sets out clear guidelines for avoiding plagiarism.

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Home > Dissertations, Theses & Capstones Projects by Program > Art History Dissertations

Art History Dissertations

Dissertations from 2024 2024.

A Municipal Modernity: Women, Architecture, and Public Health in Working-Class New York, 1913–1950 , Jessica Fletcher

Without Us There Is No Britain: Black British Photography and Film Networks, 1950-1989 , Maria T. Quinata

Dissertations from 2023 2023

The Gilded Tropics: Winslow Homer and John Singer Sargent in Florida, 1886-1917 , Theodore W. Barrow

Flamboyant Abundance: Performing Queer Maximalism, 1960–1990 , Jack Owen Crawford

"A Decorator in the Best Sense": Ludwig Mies van der Rohe, Lilly Reich, the Fabric Curtain Partition, and the Articulation of the German Modern Interior , Marianne E. Eggler-Gerozissis

From Allegory to Revolution: The Inca Empire in the Eighteenth-Century French Imagination , Agnieszka A. Ficek

“Delicious Libation”: The Art of the Coffee Trade from Brazil to the United States, 1797-1888 , Caroline L. Gillaspie

Fifteenth-Century Sienese Art in Its International Setting: A Case Study of Cross-Cultural Exchange in Italy and Beyond , Maria Lucca

Creative Figures: Portraiture and the Making of the Modern American Artist, 1918-1930 , Sasha Nicholas

Raphael Montañez Ortiz and Alternative Art Spaces, 1966–1971: From Repulsion to Exaltation , Ana Cristina Perry

Styling Sweatshops: Seamstress Imagery, Industrial Capitalism, and Nationalist Agendas in Nineteenth-Century Europe and the United States , Alice J. Walkiewicz

Dissertations from 2022 2022

Pop/Art: The Birth of Underground Music and the British Art School, 1960–1980 , Andrew Cappetta

After the Renaissance: Art and Harlem in the 1960s , Maya Harakawa

Cultural Predicaments: Neorealism in The Netherlands, 1927–1945 , Stephanie Huber

Hellenikotita — Greekness: Constructing Greek Genre Painting, Visualizing National Identity, 1850–1900 , Olga Zaferatos Karras

Contextualizing Britain’s Holocaust Memorial and Museums: Form, Content, and Politics , Rebecca D. Pollack

The Beehive, the Favela, the Castle, and the Ministry: Race and Modern Architecture in Rio de Janeiro, 1811–1945 , Luisa Valle

Globalism and Identity in Taiwanese Contemporary Art, 1978–2009 , Chu-Chiun Wei

Dissertations from 2021 2021

Europ: Expanded Cinema, Projection and the Film Co-op in Western Europe, 1966–1979 , Drew E. Bucilla

Inevitable Associations: Art, Institution, and Cultural Intersection in Los Angeles, 1973–1988 , Liz Hirsch

Xanthus Smith: Marine Painting and Nationhood , Eva C. McGraw

Art After Dark: Economies of Performance, New York City 1978–1988 , Meredith Mowder

The Integration of Art, Architecture, and Identity: Alfred Kastner, Louis Kahn, and Ben Shahn at Jersey Homesteads , Daniel S. Palmer

The Making of Transpacific Video Art, 1966–1988 , Haeyun Park

The U.S.–Mexican War: Visualizing Contested Spaces from Parlor to Battlefield , Erika Pazian

After Abstract Expressionism: Reconsidering the “Death of Painting” at Midcentury , Natasha Roje

The Painter and His Poets: Paul Gauguin and Interartistic Exchange , Aaron Slodounik

Compromised Values: Charlotte Posenenske, 1966–Present , Ian Wallace

Dissertations from 2020 2020

Traditions and Transformations in the Work of Adál: Surrealism, El sainete , and Spanglish , Margarita J. Aguilar

Norman Lewis: Linearity, Politics, and Pedagogy in His Abstract Expressionism, 1946–1964 , Andrianna T. Campbell-LaFleur

The Art of Opacity: Guy de Cointet in L.A. , Media Farzin

Northwest Coast Native Art Beyond Revival, 1962–1992 , Christopher T. Green

Staging the Modern, Building the Nation: Exhibiting Israeli Art, 1939–1965 , Chelsea Haines

Labor and the Picturesque: Photography, Propaganda, and the Tea Trade in Colonial India and Sri Lanka, 1880–1914 , Leila Anne Harris

The International Rise of Afro-Brazilian Modernism in the Age of African Decolonization and Black Power , Abigail Lapin Dardashti

Accomplices in Art: The Expansion of Authorship in the 1970s and '80s , Sydney Stutterheim

The “Olympiad of Photography”: FIAP and the Global Photo-Club Culture, 1950–1965 , Alise Tifentale

Dissertations from 2019 2019

A Series of Acts that Disappear: The Valparaíso School’s Ephemeral Architectures, 1952–1982 , Elizabeth Rose Donato

Added Interpretive Centers at U.S. War Memorials and the Reframing of National History , Jennifer K. Favorite

Stills of Passage: Photography and Migration in the US-Mexico Borderlands, 1978-1992 , Nadiah Rivera Fellah

Arts et Métiers PHOTO- Graphiques : The Quest for Identity in French Photography between the Two World Wars , Yusuke Isotani

Crossing the Atlantic: Italians in Argentina and the Making of a National Culture, 1880–1930 , Lauren A. Kaplan

The Evolution of the Centaur in Italian Renaissance Art: Monster, Healer, Mentor, and Constellation , Trinity Martinez

Weaving Modern Forms: Fiber Design in the United States, 1939–1959 , Sarah Mills

The "I" of the Artist-Curator , Natalie Musteata

Ray Johnson: Collage as Networked "Correspondance" , Gillian Pistell

Mechanical Kingdoms: Sound Technologies and the Avant-Garde, 1928–1933 , Lauren Rosati

Minor Forms, Dismantled Norms: Mediums of Modernism in Pakistan , Gemma Sharpe

Gendered Subjectivity and Resistance: Brazilian Women’s Performance-for-Camera, 1973–1982 , Gillian Sneed

Framing the City: Photography and the Construction of São Paulo, 1930–1955 , Danielle J. Stewart

Between the Cracks: From Squatting to Tactical Media Art in the Netherlands, 1979–1993 , Amanda S. Wasielewski

Dissertations from 2018 2018

Writing with Light: Cameraless Photography and Its Narrative in the 1920s , Karen K. Barber

Bloomsbury's Byzantium and the Writing of Modern Art , Elizabeth Sarah Berkowitz

The Labyrinth and the Cave: Archaic Forms in Art and Architecture of Europe, 1952–1972 , Paula Burleigh

The South Korean “Meta-Avant-Garde,” 1961–1993: Subterfuge as Radical Agency , Sooran Choi

Creating 1968: Art, Architecture, and the Afterlives of the Mexican Student Movement , Mya B. Dosch

Cellist, Catalyst, Collaborator: The Work of Charlotte Moorman , Saisha Grayson

Modern Arts and Pueblo Traditions in Santa Fe, 1909–1931 , Elizabeth S. Hawley

Women’s Suffrage in American Art: Recovering Forgotten Contexts, 1900-1920 , Elsie Y. Heung

Rising Above the Faithful: Monumental Ceiling Crosses in Byzantine Cappadocia , Alice Lynn McMichael

Visualizing Knowledge in the Illuminated Manuscripts of the Breviari d’amor , Joy Partridge

Lauretta Vinciarelli in Context: Transatlantic Dialogues in Architecture, Art, Pedagogy, and Theory, 1968-2007 , Rebecca Siefert

Prints on Display: Exhibitions of Etching and Engraving in England, 1770s-1858 , Nicole Simpson

Dissertations from 2017 2017

Open Works: Between the Programmed and the Free, Art in Italy 1962 to 1972 , Lindsay A. Caplan

I. M. Pei, William Zeckendorf, and the Architecture of Urban Renewal , Marci M. Clark

Posthumanist Animals in Art: France and Belgium, 1972-87 , Arnaud Gerspacher

On London Ground: The Landscape Paintings of Frank Auerbach and Leon Kossoff , Lee Hallman

Joseph Beuys and Social Sculpture in the United States , Cara M. Jordan

Claude III Audran: Ornemaniste of the Rococo Style , Barbara Laux

Exhibitions of Outsider Art Since 1947 , Christina McCollum

Mónica Mayer: Translocality and the Development of Feminist Art in Contemporary Mexico , Alberto McKelligan Hernandez

Merchandise, Promotion, and Accessibility: Keith Haring’s Pop Shop , Amy L. Raffel

Ludic Conceptualism: Art and Play in the Netherlands, 1959 to 1975 , Janna Therese Schoenberger

Communicationists and Un-Artists: Pedagogical Experiments in California, 1966-1974 , Hallie Rose Scott

Foreign-Born Artists Making “American” Pictures: The Immigrant Experience and the Art of the United States, 1819–1893 , Whitney Thompson

Left and Right: Politics and Images of Motherhood in Weimar Germany , Michelle L. Vangen

From Design to Completion: The Transformation of U.S. War Memorials on the National Mall , Sara Jane Weintraub

Dissertations from 2016 2016

Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 , Raffaele Bedarida

The Emergence of the Bird in Andean Paracas Art. c. 900 BCE - 200 CE , Mary B. Brown

The Moving Image in Public Art: U.S. and U.K., 1980–Present , Annie Dell'Aria

Modernism with a Human Face: Synthesis of Art and Architecture in Eastern Europe, 1954-1958 , Nikolaos Drosos

Building in Public: Critical Reconstruction and the Rebuilding of Berlin after 1990 , Naraelle Hohensee

The Bauhaus Wall Painting Workshop: Mural Painting to Wallpapering, Art to Product , Morgan Ridler

Provisional Capital: National and Urban Identity in the Architecture and Planning of Bonn, 1949-1979 , Samuel L. Sadow

Developing Italy: Photography and National Identity during the Risorgimento, 1839-1859 , Beth Saunders

The Photographic Universe: Vilém Flusser’s Theories of Photography, Media, and Digital Culture , Martha Schwendener

Finish Fetish: Art, Artists, and Alter Egos in Los Angeles of the 1960s , Monica Steinberg

Nature and Nostalgia in the Art of Mary Nimmo Moran (1842-1899) , Shannon Vittoria

Dissertations from 2015 2015

A Merchant-Banker's Ascent by Design: Bartolomeo Bettini's Cycle of Paintings by Michelangelo, Pontormo, and Bronzino for His Florentine Camera , Richard Aste

On the Fringe of Italian Fascism: An Examination of the Relationship between Vinicio Paladini and the Soviet Avant-Garde , Christina Brungardt

Let The Record Show: Mapping Queer Art and Activism in New York City, 1986-1995 , Tara Jean-Kelly Burk

Maude I. Kerns: Overlapping Interpretations of Art and Pedagogy in the Northwest and Along the Pacific Coast, 1890–1932 , Mary Helen Burnham

Contemporary Art and Internationalism at the Solomon R. Guggenheim Museum, 1952–1988 , Rachel Chatalbash

Los Grupos and the Art of Intervention in 1960s and 1970s Mexico , Arden Decker

The Hall of Fame for Great Americans: The Evolution of a Forgotten Memorial , Sheila Gerami

Mobilizing The Collective: Helhesten And The Danish Avant-Garde, 1934-1946 , Kerry Greaves

Death and Photography in East Asia: Funerary Use of Portrait Photography , Jeehey Kim

Native American Chic: The Marketing Of Native Americans In New York Between The World Wars , Emily Schuchardt Navratil

The Print Portfolio and the Bourgeoisie in Fin-de-Siècle Paris , Britany Lane Salsbury

A Light in the Darkness: Argentinian Photography During the Military Dictatorship (1976-1983) , Ana Tallone

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Writing Essays in Art History

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Art History Analysis – Formal Analysis and Stylistic Analysis

Typically in an art history class the main essay students will need to write for a final paper or for an exam is a formal or stylistic analysis.

A formal analysis is just what it sounds like – you need to analyze the form of the artwork. This includes the individual design elements – composition, color, line, texture, scale, contrast, etc. Questions to consider in a formal analysis is how do all these elements come together to create this work of art? Think of formal analysis in relation to literature – authors give descriptions of characters or places through the written word. How does an artist convey this same information?

Organize your information and focus on each feature before moving onto the text – it is not ideal to discuss color and jump from line to then in the conclusion discuss color again. First summarize the overall appearance of the work of art – is this a painting? Does the artist use only dark colors? Why heavy brushstrokes? etc and then discuss details of the object – this specific animal is gray, the sky is missing a moon, etc. Again, it is best to be organized and focused in your writing – if you discuss the animals and then the individuals and go back to the animals you run the risk of making your writing unorganized and hard to read. It is also ideal to discuss the focal of the piece – what is in the center? What stands out the most in the piece or takes up most of the composition?

A stylistic approach can be described as an indicator of unique characteristics that analyzes and uses the formal elements (2-D: Line, color, value, shape and 3-D all of those and mass).The point of style is to see all the commonalities in a person’s works, such as the use of paint and brush strokes in Van Gogh’s work. Style can distinguish an artist’s work from others and within their own timeline, geographical regions, etc.

Methods & Theories To Consider:

Expressionism

Instructuralism

Postmodernism

Social Art History

Biographical Approach

Poststructuralism

Museum Studies

Visual Cultural Studies

Stylistic Analysis Example:

The following is a brief stylistic analysis of two Greek statues, an example of how style has changed because of the “essence of the age.” Over the years, sculptures of women started off as being plain and fully clothed with no distinct features, to the beautiful Venus/Aphrodite figures most people recognize today. In the mid-seventh century to the early fifth, life-sized standing marble statues of young women, often elaborately dress in gaily painted garments were created known as korai. The earliest korai is a Naxian women to Artemis. The statue wears a tight-fitted, belted peplos, giving the body a very plain look. The earliest korai wore the simpler Dorian peplos, which was a heavy woolen garment. From about 530, most wear a thinner, more elaborate, and brightly painted Ionic linen and himation. A largely contrasting Greek statue to the korai is the Venus de Milo. The Venus from head to toe is six feet seven inches tall. Her hips suggest that she has had several children. Though her body shows to be heavy, she still seems to almost be weightless. Viewing the Venus de Milo, she changes from side to side. From her right side she seems almost like a pillar and her leg bears most of the weight. She seems be firmly planted into the earth, and since she is looking at the left, her big features such as her waist define her. The Venus de Milo had a band around her right bicep. She had earrings that were brutally stolen, ripping her ears away. Venus was noted for loving necklaces, so it is very possibly she would have had one. It is also possible she had a tiara and bracelets. Venus was normally defined as “golden,” so her hair would have been painted. Two statues in the same region, have throughout history, changed in their style.

Compare and Contrast Essay

Most introductory art history classes will ask students to write a compare and contrast essay about two pieces – examples include comparing and contrasting a medieval to a renaissance painting. It is always best to start with smaller comparisons between the two works of art such as the medium of the piece. Then the comparison can include attention to detail so use of color, subject matter, or iconography. Do the same for contrasting the two pieces – start small. After the foundation is set move on to the analysis and what these comparisons or contrasting material mean – ‘what is the bigger picture here?’ Consider why one artist would wish to show the same subject matter in a different way, how, when, etc are all questions to ask in the compare and contrast essay. If during an exam it would be best to quickly outline the points to make before tackling writing the essay.

Compare and Contrast Example:

Stele of Hammurabi from Susa (modern Shush, Iran), ca. 1792 – 1750 BCE, Basalt, height of stele approx. 7’ height of relief 28’

Stele, relief sculpture, Art as propaganda – Hammurabi shows that his law code is approved by the gods, depiction of land in background, Hammurabi on the same place of importance as the god, etc.

Top of this stele shows the relief image of Hammurabi receiving the law code from Shamash, god of justice, Code of Babylonian social law, only two figures shown, different area and time period, etc.

Stele of Naram-sin , Sippar Found at Susa c. 2220 - 2184 bce. Limestone, height 6'6"

Stele, relief sculpture, Example of propaganda because the ruler (like the Stele of Hammurabi) shows his power through divine authority, Naramsin is the main character due to his large size, depiction of land in background, etc.

Akkadian art, made of limestone, the stele commemorates a victory of Naramsin, multiple figures are shown specifically soldiers, different area and time period, etc.

Iconography

Regardless of what essay approach you take in class it is absolutely necessary to understand how to analyze the iconography of a work of art and to incorporate into your paper. Iconography is defined as subject matter, what the image means. For example, why do things such as a small dog in a painting in early Northern Renaissance paintings represent sexuality? Additionally, how can an individual perhaps identify these motifs that keep coming up?

The following is a list of symbols and their meaning in Marriage a la Mode by William Hogarth (1743) that is a series of six paintings that show the story of marriage in Hogarth’s eyes.

• Man has pockets turned out symbolizing he has lost money and was recently in a fight by the state of his clothes.
• Lap dog shows loyalty but sniffs at woman’s hat in the husband’s pocket showing sexual exploits.
• Black dot on husband’s neck believed to be symbol of syphilis.
• Mantel full of ugly Chinese porcelain statues symbolizing that the couple has no class.
• Butler had to go pay bills, you can tell this by the distasteful look on his face and that his pockets are stuffed with bills and papers.
• Card game just finished up, women has directions to game under foot, shows her easily cheating nature.
• Paintings of saints line a wall of the background room, isolated from the living, shows the couple’s complete disregard to faith and religion.
• The dangers of sexual excess are underscored in the Hograth by placing Cupid among ruins, foreshadowing the inevitable ruin of the marriage.
• Eventually the series (other five paintings) shows that the woman has an affair, the men duel and die, the woman hangs herself and the father takes her ring off her finger symbolizing the one thing he could salvage from the marriage.

Theses and dissertations

We provide access to University of York PhD/MPhil theses and Masters dissertations for members of the University and visitors to the Library. We can also help you to find theses/dissertations from other institutions.

For all York theses and dissertations, copyright is held by the author, unless otherwise stated. You may copy a modest amount of material from a thesis with full attribution as defined in law. In all other circumstances you should contact the rights-holder for permission.

• Read our practical guide to Copyright law

Search for a York thesis or dissertation

All available University of York theses can be found on YorSearch , including electronic versions held in the Digital Library and White Rose eTheses. You can search YorSearch for the title, author or department and academic year.

What we hold

We hold the University's PhD and MPhil theses, including physical copies up to 2012.

White Rose eTheses   holds electronic copies from 2013 onwards, as well as a selection of pre-2013 theses.

University of York Masters dissertations for some subjects are available:

• electronically via  YorSearch
• in print via Borthwick Institute for Archives ( Note : booking is necessary)

We also hold a selection of digitised undergraduate dissertations for certain subjects:

• History   (selection from 1967 onwards)
• History of Art   (selection from 1997 onwards)
• Social Policy and Social Work   (selection from 2019 onwards)

Consulting a thesis/dissertation in the Library

Our physical theses and dissertations are kept in a secure store. To consult them you will need to request access via Borthwick Institute for Archives by emailing [email protected] with the details of the thesis and a preferred appointment date.

Note : theses and dissertations can only be consulted in the reading room at the Borthwick Institute and cannot be removed.

If you are an independent researcher and want to consult a York thesis, contact us at [email protected] .

Finding theses from other universities

You can try one of the following services to find theses by students from other institutions.

• Read more about using PhD theses on EThOS (youtube.com)
• White Rose eTheses Online holds electronic, doctoral level theses from the Universities of Leeds, Sheffield and York
• Index to theses is an index to British and Irish higher degree theses with abstracts (summaries) or brief details of each thesis
• Networked Digital Library of Theses and Dissertations allows you to search for electronic theses from around the world

If you can't access the full text of a thesis you're interested in, please complete our Request Form and we will try to source it for you. Please note the success of this may depend on the holding library's policies, or obtaining the author's permission, but we will let you know if we're unable to source it.

Department of History

Dissertations.

Since 2009, we have published the best of the annual dissertations produced by our final year undergraduates and award a 'best dissertation of the year' prize to the best of the best.

• Best Dissertations of 2022
• Best Dissertations of 2021
• Best Dissertations of 2020
• Best Dissertations of 2019
• Best Dissertations of 2018
• Best Dissertations of 2017
• Best Dissertations of 2016
• Best Dissertations of 2015
• Best Dissertations of 2014
• Best Dissertations of 2013
• Best Dissertations of 2012
• Best Dissertations of 2011
• Best Dissertations of 2010
• B est Dissertations of 2009