Art History & Archaeology Theses and Dissertations

Permanent URI for this collectionhttp://hdl.handle.net/1903/2744

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    READING DAMNATION THROUGH FORMAL VARIATIONS OF THE MEDIEVAL HELL MOUTH
    (2021) Abraham, Molly Rose; Gill, Meredith J; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    The study of the medieval Hell Mouth, the visual expression of the entrance to Hell, has generally centered on identifying its origins. However, that the visual Hell Mouth finds immense variation in form and context seems to deny any unilateral interpretation of the device. Art historians and scholars of visual culture have not before singly focused on the terrifying and visually compelling portrayal of the Mouth of Hell. While it is a longstanding and powerful referent in western culture, whether in text or image, and from medieval times to the present, no one has carefully examined its visual variants and their inimitable meaning for both Christian viewers and patrons, and for those less familiar with Christian teachings and belief. These four case studies drawn from medieval manuscripts offer close examinations of how the formal qualities of each variation distill the meaning of the Hell Mouth into visually legible form.
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    "Useful to the Mind": Ade Bethune's Illustrations for The Catholic Worker, 1934-1945
    (2006-05-07) Norton, Rachel E.; Promey, Sally M.; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    Ade Bethune made illustrations for The Catholic Worker newspaper, the publication of the Catholic Worker movement, from 1933 through 1945. These illustrations served multiple functions. Obvious, expected functions included increasing the publication's appeal to potential readers, and reiterating the messages delivered in the text. However, the drawings' more interesting and unique function was to serve as dual models of the kind of lifestyle Bethune espoused. The illustrations both demonstrated this lifestyle through the depicted images, and acted as witnesses or artifacts of Bethune's own practice. Bethune caused her drawings to fulfill these functions by carefully and self-consciously selecting subjects and styles that most effectively communicated, either explicitly or through evocation. Her drawings, which blend modernist abstraction with a romanticized medievalism, are an historically significant example of the impact of the Liturgical Arts movement in America.