2013 Dissertation Listings

Posted in graduate students by Editor on August 16, 2014

From caa.reviews:

Dissertation Listings

PhD dissertation authors and titles in art history and visual studies from US and Canadian institutions are published each year in caa.reviews. Titles can be browsed by subject category or year.

Titles are submitted once a year by each institution granting the PhD in art history and/or visual studies. Submissions are not accepted from individuals, who should contact their department chair or secretary for more information. Department chairs: please consult our dissertation submission guidelines for instructions. The annual deadline is January 15 for titles from the preceding year.

In 2003, CAA revised the subject area categories of art history and visual studies used for all our listings, including dissertations. These categories are listed in the Dissertation Submission Guidelines.

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The index for 2013 lists four eighteenth-century dissertations completed:

• Beachdel, Thomas, “Landscape Aesthetics and the Sublime in France, 1750–1815” (CUNY, P. Mainardi)

• Jarvis, M. W., “Noir/Blanc: Representations of Colonialism and Cosmopolitanism in Eighteenth-Century Painting” (UC San Diego, N. Bryson)

• Knowles, Marika, “Pierrot’s Costume: Theater, Curiosity, and the Subject of Art in France, 1665–1860” (Yale, C. Armstrong)

• Lenhard, Danielle, “Reading with One Hand: Suggestive Folds and Subversive Consumption in Jean-Honore Fragonard’s The Bolt” (Stony Brook University, J. Monteyne)

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and forty-three dissertations in progress, including:

• Athens, Elizabeth, “Figuring a World: William Bartram’s Natural History” (Yale, T. Barringer)

• Hafera, Alison, “Images of Mourning and Melancholia in France, 1780–1830” (UNC Chapel Hill, M.Sheriff)

• Helprin, Alexandra, “Art and Servitude on the Sheremetev Estates” (Columbia, A. Higonnet)

• Lee, Hyejin, “‘Tout en l’air’: Visual and Material Representations of Air in Eighteenth-Century France” (UNC Chapel Hill, M. Sheriff)

• Mayer, Tamar, “Consequences of Drawing: Self and History in Jacques-Louis David’s Preparatory Practices” (Chicago, R. Ubl, M. Ward)

• Peterson, Laurel O., “The Decorated Interior: Artistic Production in the British Country House, 1688–1745” (Yale, T. Barringer)

• Polzak, Kailani, “Picturing Circumnavigation and Science: English, French, Russian, and Prussian Observations of Oceania, 1768–1822” (UC Berkeley, D. Grigsby)

• Ridlen, Michael T., “Prud’hon and the Graceful Style” (Iowa, D. Johnson)

• Strasik, Amanda K., “Representations of Childhood in Late Eighteenth- and Early Nineteenth-Century France” (Iowa, D. Johnson)


New Book | Art at the Origin

Posted in books by Editor on August 16, 2014

From the publisher:

Hans Christian Hönes, Kunst am Ursprung. Das Nachleben der Bilder und die Souveränität des Antiquars (Bielefeld: Transcript Verlag, 2014), 330 pages, ISBN 978-3837627503, 38€.

9783837627503_720x720The book provides a systematic study of the spectacular and often highly speculative art theories and art-historical narratives of such renowned antiquaries as Pierre d’Hancarville, Richard Payne Knight, and James Christie. Hans Christian Hönes analyses their theories on the origins of art and interprets the theory of history resulting from these hypotheses on the beginnings of art as a narrative of »survival«, bearing a surprisingly close resemblance to ideas culminating around 1900 in the writings of Aby Warburg.

Die spektakulären und höchst spekulativen Geschichtsentwürfe und Bildtheorien bedeutender Antiquare wie Pierre d’Hancarville und Richard Payne Knight stehen in diesem Buch erstmals im Fokus der Analyse. Hans Christian Hönes beleuchtet deren Theorien über den Ursprung der Kunst und das, so die These, daraus resultierende Narrativ eines bis in die eigene Gegenwart virulenten »Nachlebens« dieser Ursprünge. So offenbart sich ein Geschichtsentwurf, der überraschende Parallelen zu Theorien aufweist, wie sie um 1900 im Werk Aby Warburgs kulminieren. Die Studie zeigt: Das Anliegen der Protagonisten ist weniger die Suche nach historistischer Wahrheit—sondern vielmehr die
Konstruktion einer souverän entworfenen, polemischen und
romanhaften Kunstübung.

Hans Christian Hönes is Research Associate of the international research group Bilderfahrzeuge: Warburg’s Legacy and the Future of Iconology at the Warburg-Institute London.