Master of Arts, Oberlin College, 1988, Art

A leather-bound album in the Staatliche Graphische Sammlung, Munich, is filled with one hundred and twenty caricature drawings. Although reference has often been made to them since their first publication in 1931, and various attempts, largely unsuccessful, have been made to attribute the drawings, they remain little studied and an enigma in the history of the art of caricature in Italy.First, as I will propose through this study, it is crucial to the understanding of seventeenth-century caricature. Second, on the basis of a very close relationship between the drawings in Munich and a series of prints after designs by Pietro De Rossi, produced by the Bolognese artist Giuseppe Maria Mitelli in 1686, the Munich caricatures can, I believe, be attributed, with good reason, to Pietro De Rossi and dated between the 1670's and the mid 1680's, or around the time of the publication of the Mitelli prints. This dating places the drawings at an important juncture, or midpoint in the history of caricature. From the time of the invention of caricature itself in the very last years of the sixteenth century and throughout most of the seventeenth century, caricature was a private art practiced by an artist and enjoyed by only his most intimate circle of acquaintances, that is to say, the drawings were not widely circulated. In the eighteenth century and later, with the publication of caricatures in Rome and especially in England, it became an immensely popular and very public form of art.Little is known about the activity of most caricaturists during the Seicento; for this and other reasons it is difficult to piece together the early history of caricature.The greatest problem involved in creating such a history is simply the lack of physical evidence. There are, for instance, no known caricatures by Annibale Carracci, who not only was acknowledged in his time as a master of the art, but often is assumed to have been the inventor of the genre. A major loss are the many caricatures by (open full item for complete abstract)

Committee: Richard E. Spear (Advisor) Subjects: Art History

BA, Oberlin College, 2016, History

In 1960, during a resurgence of anti-Semitism, the Munich government initiated a program to invite Jewish former residents of Munich (who left during the 1930s and early 1940s due to the Nazis) back to their hometown for two-week visits. This program offered the participants a chance to reminisce about their childhoods, reconnect with their heritage, and visit their former communities. For the government, this program provided a crucial connection between the old prewar Munich and the new Munich of the 1960s, between Munich as the birthplace of National Socialism and Munich as a newly rebuilt city, ready to move forward from the Holocaust. This thesis relies primarily on correspondence between program participants and the Munich government from the Munich City Archive, oral interviews with individuals involved with the program, and secondary sources about postwar Munich and historical memory.

Committee: Annemarie Sammartino (Advisor) Subjects: European History; European Studies; Foreign Language; Germanic Literature; History; Holocaust Studies; Judaic Studies; Language; Modern History; Modern Language; Religion; Religious History

Doctor of Philosophy (PhD), Ohio University, 2011, Interdisciplinary Arts (Fine Arts)

Drawing from a number of artistic media, this dissertation is an interdisciplinary approach for understanding how artworks created under the patronage of Albrecht V were used to shape Catholic identity in Bavaria during the establishment of confessional boundaries in late sixteenth-century Europe. This study presents a methodological framework for understanding early modern patronage in which the arts are necessarily viewed as interconnected, and patronage is understood as a complex and often contradictory process that involved all elements of society. First, this study examines the legacy of arts patronage that Albrecht V inherited from his Wittelsbach predecessors and developed during his reign, from 1550-1579. Albrecht V's patronage is then divided into three areas: northern princely humanism, traditional religion and sociological propaganda. The final chapter follows the influence of Albrecht V's patronage through the Thirty Years' War, during the reign of his grandson, Maximilian I. During the early years of Albrecht V's reign, his patronage reflected his values as a noble who pursued a particularly northern, humanist agenda. During his reign, a resurgence of traditional religious experience occurred in Bavaria that the Jesuits, supported by Albrecht V, used to rouse support for Catholicism. This movement affected Albrecht V's identity, and his patronage and the legacy of his patronage reflected and supported the entrenchment of traditional Bavarian Catholicism. Jacque Ellul termed the establishment of such structures sociological propaganda. That Bavaria remained staunchly Catholic during the Protestant Reformation is often attributed to the absolutist policies and social discipline of Albrecht V – a process known as confessionalization. However true the confessionalization thesis is, any approach for analyzing Bavarian artworks of the period must also include the possibility that the lower classes were as influential in shaping the patronage and religious (open full item for complete abstract)

Committee: Wilson Dora PhD (Committee Chair); Charles S. Buchanan PhD (Committee Member); Michele L. Clouse PhD (Committee Member); William F. Condee PhD (Committee Member) Subjects: Aesthetics; Art History; Medieval History; Music; Performing Arts; Religious History; Theater History

Master of Arts, Miami University, 2012, History

Through the lens of Bohemian Munich, this thesis explores the incongruities of identity formation in Imperial Germany. Using the life and writings of the Prussian ex-countess Franziska Grafin zu Reventlow, this work considers Reventlow's ambiguous social, political, and sexual identities as emblematic of the contradictions of a modernizing turn-of-the-century Wilhelmine Germany society. In turn, Reventlow's life complicates the perception of German bohemian communities as a direct contrast to the dominant bourgeois society (Burgertum) surrounding them. Reventlow's opinions on gender equality, sex, and maternity were as often sympathetic as antagonistic to mainstream German feminist opinion, illustrating both the diversity of response to the changes of a modernizing society as well as the inadequacy of broad political labels—whether “conservative” or “liberal”—for late-Wilhelmine intellectual groups. In Reventlow's relation to both bohemianism and feminism, then, this thesis finds a microcosm of the social, political, and sexual pressures dividing Wilhelmine Germany.

Committee: Erik Jensen (Advisor); Wietse de Boer (Committee Member); Stephen Norris (Committee Member) Subjects: History; Modern History