History of Art and Architecture Theses and Dissertationshttps://scholarsbank.uoregon.edu/xmlui/handle/1794/60062024-03-28T17:40:19Z2024-03-28T17:40:19ZPergamon’s Athena Parthenos: Questions of Greek Identity and the Impact of Ancient and Modern DisplayKleihs, Majahttps://scholarsbank.uoregon.edu/xmlui/handle/1794/291982024-01-10T08:38:18Z2024-01-09T00:00:00ZPergamon’s Athena Parthenos: Questions of Greek Identity and the Impact of Ancient and Modern Display
Kleihs, Maja
One of the largest and best preserved copies of the Athena Parthenos, the famed statue was found in Pergamon, a major city in the Hellenistic period. This statue from c. 170 BCE diverged in part from the original becoming a representation of Pergamon’s interest in art and assertion of Hellenism. It is often featured in studies of Hellenistic sculpture or of the excavation of Pergamon. Drawing on previous scholarship of Pergamon history, cultural positioning, and excavations, this thesis analyzes this work of art and examines its role in constructing Pergamene identity. By comparing this statue to the original version and other extant copies of the Athena Parthenos, I also investigate issues of interpretation and access. Finally, this thesis examines the history of its display to understand how it is understood in modern spaces and its relationship to important museological issues.
2024-01-09T00:00:00ZNike-Apsara Imagery in First and Second-Century Gandharan Art and the Theoretical Framework of the Roman Image-LanguageMilliken, Ashleyhttps://scholarsbank.uoregon.edu/xmlui/handle/1794/291942024-01-10T08:38:15Z2024-01-09T00:00:00ZNike-Apsara Imagery in First and Second-Century Gandharan Art and the Theoretical Framework of the Roman Image-Language
Milliken, Ashley
Scholarship has examined the Greco-Roman deities used as prototypes for Buddhist figures in Gandhara, such as Apollo-Buddha, Tyche-Hariti, and Atlas. Minimal research has explored the surmised correlation between Nike and Apsaras. Therefore, this thesis investigates the thematic roles, iconography, and historical relationships between the two, including Roman interpretations of Nike, to expand on prior Greek and Hellenistic-centric discussions. I argue that when we look at evidence of the Apsara, such as that depicted on the first or second-century Gandharan relief in the Art Institute of Chicago, in comparison to Nike representations from the Imperial Roman period, similarities can be identified that support the notion of a correlation between the two existing in Central Asia. Further supporting this claim, I utilize the theoretical framework proposed by Stoye, which builds on Hölscher’s Roman-Image Language, to recontextualize the Apsara imagery on the Gandharan relief and explore why the Kushans viewed the figures as interchangeable or capable of being synthesized.
2024-01-09T00:00:00ZEnslaved Afterlives: The Ancient Greek Grave Stele of Hegeso (410 - 400 B.C.E) and Its Contemporary Museum DisplayGarcia, Alexishttps://scholarsbank.uoregon.edu/xmlui/handle/1794/291832024-01-10T08:38:03Z2024-01-09T00:00:00ZEnslaved Afterlives: The Ancient Greek Grave Stele of Hegeso (410 - 400 B.C.E) and Its Contemporary Museum Display
Garcia, Alexis
The Grave Stele of Hegeso (410 – 400 B.C.E) is an ancient Greek mistress-maid type funerary stele from Athens that depicts an elite woman attended to by an enslaved attendant. This thesis centers the analysis on the enslaved woman who has been overshadowed in the scholarship and seeks to excavate enslaved experiences. By analyzing the iconography of the grave stele, its placement in the highly traveled Kerameikos Cemetery, and representations of the enslaved in theater, I argue that the enslaved figure draws upon the theatrical trope of the Good Slave to communicate ideology to both enslaved and free viewers. And I argue that modern conceptions of the Grave Stele of Hegeso and the role of slavery in antiquity are shaped by the stele’s display in the modern Greek museum that situates it within the context of the continued absence of slavery in the academic and museological tradition.
2024-01-09T00:00:00ZFrom the Avant-Garde to the Humanitarian: Kati Horna's Photomontages and Photography (1937-1938)Cleary, Elizabethhttps://scholarsbank.uoregon.edu/xmlui/handle/1794/291382024-01-10T08:37:13Z2024-01-09T00:00:00ZFrom the Avant-Garde to the Humanitarian: Kati Horna's Photomontages and Photography (1937-1938)
Cleary, Elizabeth
The Mexican-Hungarian photographer Kati Horna (1912–2000) photographed the Spanish Civil War and created photomontages for the anarchist organization, the CNT-FAI (Confederación Nacional del Trabajo-Federación Anarquista Ibérica/National Labor Confederation-Iberian Anarchist Federation) between 1937 and 1938. Scholarship to date has debated whether Horna’s political activism or her association with interwar avant-garde groups played a greater role in her work. In this thesis, I suggest that Horna’s political activism and her associations with Dada, Constructivism and Surrealism are inseparable aspects of her work by tracing Horna’s work from Hungarian Activism in the mid-1910s to what has been described as humanitarian photography in the 1930s. I argue that Horna’s work reveals the proximity of the avant-garde groups on the one hand and, on the other, the ambiguous relationship between art and politics during the European interwar years.
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