UMD Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/3
New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a given thesis/dissertation in DRUM.
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Item Invisible Men, Invisible Women: Labor, Race, and the (re)Construction of American Citizenship in New Deal Post Office Murals(2019) Yasumura, Grace Sayuri; Mansbach, Steven; Ater, Renee; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Invisible Men, Invisible Women: Labor, Race, and the (re)Construction of American Citizenship in New Deal Post Office Murals is a meditation on the historical construction and persistent importance of race in the formation of American national identity and citizenship. Centering on an institutionally marginalized and academically neglected aspect of American art, this dissertation explores the depictions of non-white laborers, from images of African American sharecroppers to Mexican American migrant laborers that appear in scores of Treasury Section post office murals across the United States. Organized around three case studies, this work explores the different ways racialized identities were created, contested, and consolidated within the context of larger debates surrounding the relationship between labor and citizenship in the 1930s. This dissertation reads the murals produced under the Treasury Section as part of the New Deal’s epistemological regimes of intelligibility. In other words, these murals are to be understood as sites where collective identities are visualized and “correct” codes of social conduct are shaped in order to foster a particular vision of the citizens-subject. Treasury Section post office murals are therefore interpreted as part of a complex set of instruments deployed by the New Deal government as it sought to translate ideology into practice and thus actualize codes of racial and gendered conduct and ultimately modes of ideal citizenship.Item Synthesizing Transcendental Painting: Race, Religion, and Aesthetics in the Art of Emil Bisttram, Raymond Jonson, and Agnes Pelton(2010) Rees, Nathan; Promey, Sally M.; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Three core artists of the Transcendental Painting Group, Emil Bisttram (1895-1976), Raymond Jonson (1891-1982), and Agnes Pelton (1881-1961), employed modernist painting styles in an attempt to create spiritually significant art. Although previous scholarship has focused on the artists' formal innovations, their work was imbricated in contemporary cultural politics, actively participating in discourses surrounding conceptions of race, religion, aesthetics, and the interrelation of each of these realms. Each drew from sources in metaphysical religious literature, especially Theosophy and related traditions. Their theories of ideal aesthetics for religious art, based on the supposition that artists could convey direct emotional experience through abstraction, reflected the Theosophical drive to overcome materialist philosophy by transcending the limits of physicality. Bisttram, Pelton, and Jonson also internalized Theosophy's promotion of syncretism as a guiding principle, and followed metaphysical religionists in advocating a combinative appropriation from diverse religious and artistic traditions. In particular, they relied on Theosophical conceptions of the importance of gleaning allegedly ancient wisdom as they addressed American Indian cultures of the Southwest. Their art created a hybrid iconography, combining symbolic elements from metaphysical religious sources with imagery derived from Southwest Indian cultures, asserting an integral relationship between the two, and advancing the perceived agreement between Native American and Theosophical religious systems as evidence of the truth of the latter. In addition to expressing metaphysical interpretations of Native American religions in their work, they promoted a transcultural aesthetic that posited American Indian art as an archaic and therefore "authentic" means of expressing of spiritual wisdom; they modeled their own abstract aesthetics in response to their encounters with Indian art. As they appropriated from Native American sources, they created images that celebrated the indigenous peoples of the Southwest as possessing unique and important religious knowledge. Their intent, however, was to advance Western culture forward by drawing from ancient sources to create a new, synthetic religion. The result was an art that referenced American Indian cultural practices and art traditions, but gave no voice to the original Native American artists, claiming to transcend the sphere of cultural significance and approach the level of "universal" meaning.Item 'Signature Drawings:' Social Networks and Collecting Practices in Antebellum Albums(2008-06-05) Heyrman, Joy Peterson; Promey, Sally M.; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Characterized in their own time as "miniature and easily-attainable works of art," drawings by American artists of the antebellum period were prized by fellow artists as mementi of friendship and by collectors as marks of the artist's hand. This dissertation presents a broad examination of the social meanings and contemporary contexts of these quietly communicative works of art. Using archival and documentary evidence, it investigates rich spheres of activity in the "social lives" of drawings. Special qualities of the medium and particularities of drawings exchange informed their reception. In the public sphere of business and social transaction between artists and patrons, drawings functioned as "social currency," building a community connected through gift-giving and competitive collecting. Albums of drawings reflected social networks and communicated the owner's privileged access to artists who practiced that particularly intimate form of expression. Drawings were also displayed in the antebellum parlor, a private setting encoded with aspiration to personal refinement and social position. In that sphere, drawings served a didactic, regulatory function, presenting sentimental and moral themes that provided a visual buffer to the turbulent public history of the time. My study reveals that many of the drawings collected in antebellum albums were originals for images subsequently reproduced as giftbook illustrations or prints. This dissertation demonstrates that antebellum viewers perceived drawing and writing as aligned, complimentary modes of expression; similar motivations thus informed the collecting of drawings and autographs. As the pantheon of eminent Americans shifted to include artists, their drawings were prized as signature works reflecting "temperament and quality of mind." American art history has directed little attention to antebellum-period drawings. When it has done so, it has situated them primarily as studio tools or as preparatory works for paintings. I argue that album drawings occupied a different register of value altogether, connected to literature, illustration, parlor entertainment, and the collecting of celebrity autographs during a period of explosive growth in the production of visual imagery and in media coverage of American artists. I propose a social and cultural history of the period centered on drawing collecting as a reflection of individual aspirations and social values.Item Beyond Realism: History in the Art of Thomas Eakins(2005-01-25) Reason, Akela M.; Promey, Sally M.; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Art historians often associate Thomas Eakins's realist depictions of modern life with the artist's most rational tendencies. In these images, Eakins's scrutiny of his subjects seems to verge on the scientific. Consequently, many of these works have been studied in terms of Eakins's devotion to understanding and replicating the tangible world around him, marshalling as evidence the artist's meticulous methods of preparation, his scrupulous study of anatomy, and his literal use of photographs. The sense that Eakins's creativity was always bounded by reason has contributed to the canonization of these modern life subjects. While these images reinforce the notion of Eakins's almost scientific faith in the real, they do not include many of the works that the artist deemed most important. Concurrent with these modern life subjects, Eakins also completed works that engage with historical subject matter. Although these images have often been dismissed as unimportant to Eakins's career, the artist numbered many of them among his best. Ranging from his colonial revival subjects of the 1870s and 80s to his reprisal of William Rush Carving His Allegorical Figure of the Schuylkill River in 1908, the historical works span the length of his career and engage in a dialogue with his more familiar realist images. This dissertation examines how in each decade of his career, Eakins used historical subject matter to assert his most deeply-held professional beliefs. A complex amalgam of tradition and modernity, each of these historical themes relates to Eakins's creation of a professional identity as an artist. I explore how Eakins's consciousness of the art historical tradition specifically influenced these works as well as guided the trajectory of his career. With respect to this tradition, Eakins believed that life study and hard work bound all great artists togetherpast, present, and future. Eakins advanced this notion by his insistent placement of the historical works in major venues alongside his powerful images of doctors and rowers. In his desire to become part of the art historical tradition himself, Eakins hoped that his historical subjects would continue to speak for him after his death.