art 16 dissertation

2024 Theses Doctoral

Contested Modernism: Black Artists and the Spaces of American Art, 1925-1950

Sledge, David

Historically Black colleges and universities served as primary sites of modernist artmaking. In 1920, however, no HBCU offered an art major or employed full-time fine arts faculty. This dissertation examines that swift transformation, demonstrating it not as a simple evolution, but rather as a contested site of Black thought and protest. I show this not through an institutional history or "timeline" of Black college art departments, but rather in a sustained attention towards Black colleges as nodes within a larger network of publics constituting Black modernism as sites for subjectivity. In doing so, this dissertation examines the conjuncture between two coincident forms: that of modernist art and of the same era's radical modes of racial exclusion. I ask what is at stake in art as lived experience, at a moment in which modernist aesthetics made claims as a means of producing novel ways of inhabiting being human while simultaneous modes of racial formation devalued Blackness within that conceptual category as life. Through this, I track aesthetic production as a relation and set of experiences occurring through specific sites and publics as an asymmetric arena for contestation, with an emphasis on historically Black colleges and universities. My first chapter, "Organize, Strike, Paint: Making Modern Art at Historically Black Colleges," charts that shift in a set of breaks in art-making at HBCUs, arguing for a student-driven movement away from industrial education towards a modernist visual arts, one embedded within a larger constellation of sites. My second chapter, "Aaron Douglas and a Liberatory History of the Senses," looks closely at Fisk University through the work of painter Aaron Douglas in a set of site-specific murals he made which visualize a long narrative of Black history, art, and labor. I argue that Douglas interrogated in those paintings central questions of visual modernism, placing the radical exclusion of Black subjects in slavery and its afterlives in the Jim Crow era as central to an understanding of modern vision and subjectivity. Through such works, HBCUs stand as necessary sites for theorizing a history of vision and its relation to the "human," as a rejoinder to histories of visual modernism that do not meaningfully account for racialization. In my final chapter, "Black Study in the White Cube: Racialized Subjectivities and the Museum of Modern Art, ca. 1935," I demonstrate the circulation and exclusions that structured Black audiences and art viewing. I do so through an examination of the Museum of Modern Art’s African Negro Art exhibition, which Black artists engaged with as visitors at MoMA, through mediated forms in print and photography, as well as in circulating satellite shows presented at HBCUs. In doing so, I attend to both the modes of viewership at the museum proper as well as the ways it interacted within a broader network of Black publics. Similarly, I examine the specific content of that MoMA exhibit in its primitivist imagination of an African past, one which might be used as a ground for "modern" white subjects. I track how Black artists confronted that continued legacy of anti-Blackness and addressed the immense dislocations inherent in it. Throughout, I provided sustained attention to artists including Hale Woodruff, Loïs Mailou Jones, Aaron Douglas, John Biggers, Romare Bearden, Norman Lewis, Amaza Lee Meredith, William H. Johnson, Augusta Savage, and Elizabeth Catlett.

• Art, American
• African American art
• African American artists
• Universities and colleges, Black
• Modernism (Art)
• Modernism (Aesthetics)
• Black people in art
• Black people--Race identity
• Twentieth century
• Museum of Modern Art (New York, N.Y.)
• Woodruff, Hale, 1900-1980
• Biggers, John Thomas, 1924-2001
• Bearden, Romare, 1911-1988
• Lewis, Norman, 1909-1979
• Johnson, William H., 1901-1970
• Savage, Augusta, 1892-1962
• Catlett, Elizabeth, 1915-2012
• Fisk University

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PRTH 987 Dissertation Writing in Practical Theology I

• Course Description

For information regarding prerequisites for this course, please refer to the  Academic Course Catalog .

Course Guide

View this course’s outcomes, policies, schedule, and more.*

*The information contained in our Course Guides is provided as a sample. Specific course curriculum and requirements for each course are provided by individual instructors each semester. Students should not use Course Guides to find and complete assignments, class prerequisites, or order books.

PRTH 987 is the transitional course that assesses competency from PhD in Practical Theology course work and prepares the PhD candidate for dissertation writing. This is accomplished through the successful completion of a comprehensive field exam, prospectus development and approval, and pairing the candidate with an appropriate dissertation supervisor. All these tasks are necessary before dissertation writing can formally commence.

Course Assignment

Textbooks readings and lecture presentations.

No details available.

Course Requirements Checklist

After reading the Course Syllabus and Student Expectations , the student will complete the related checklist found in the Course Overview.

Quiz: Preprospectus Proposal Consultation

The student will submit to the instructor teaching PRTH 987 a “Preprospectus Proposal” developed in the Tier II courses for the instructor’s evaluation and feedback, especially as it relates to the three overriding principles of dissertations in the PhD in Practical Theology program; namely, that they must be appropriately biblical, theological, and practical. The student will then meet with the instructor to discuss the details of the proposal before the first draft of the prospectus is composed. This initial consultation will provide opportunity for redirection and refinement as appropriate, along with advice on how the particular topic might best be developed into a library-based, biblically, and practically oriented PhD dissertation. The student will complete a quiz verifying that they have completed the requirement. (CLO: A, B).

Comprehensive Exam 4: Journal Article Proposal Assignment

The fourth and final comprehensive exam requires the composition of an article related to the student’s intended dissertation topic. The article functions as a “field essay” and (1) establishes that the student has “read themselves into the field” sufficient to demonstrate mastery of the issues and literature appropriate to the PhD level of research, and (2) establishes that the student has a viable proposed research topic in the field. In preparation for the exam, the student must write a brief proposal (2-page maximum) to be submitted to the professor for approval. (CLO: A).

Comprehensive Exam 4: Journal Article Assignment

Once the Comprehensive Exam 4: Journal Article Proposal Assignment has been approved by the instructor of PRTH 987, the student must prepare and submit a publishable article on an approved topic relevant to the student’s dissertation that explores a gap in the literature. This exam must demonstrate that the student has a mastery of the field, a grasp of the literature, and an ability to integrate information and themes developed in their PhD in Practical Theology coursework. (CLO: A).

Dissertation Prospectus: First Draft Assignment

The PhD in Practical Theology prospectus will be submitted in two stages: first draft and final draft. In the first draft submission, the student will submit a prospectus containing 4 key components: (1) a dissertation abstract; (2) a description of the dissertation’s research methodology and design of the dissertation’s argument; (3) a chapter-by-chapter outline; (4) a working bibliography. (CLO: B, C).

Dissertation Prospectus: Final Draft Assignment

The final draft of the dissertation prospectus will contain the same 4 components as the Dissertation Prospectus First Draft Assignment and will gather up, address, and remediate any issues raised by the instructor. (CLO: B, C).

Quiz: Dissertation Supervisor Pairing Assignment

The student will complete the Dissertation Supervisor Pairing Quiz to verify that they are ready to be paired with a dissertation supervisor. (CLO: G).

Argument Analysis and Research Methodology Assignment

Considering the elements of a good argument in Turabian’s A Manual for Writers, Chapter 5, “Planning Your Argument,” the student will assess their dissertation’s proposed argument relative to (1) its central claim; (2) warrants on which the claim relies; (3) evidence supporting the claim the student intends to present in the dissertation; and (4) the student’s response to potential objections to the argument. Then, the student will describe their research methodology relative to 4 key concerns: (1) it employs library-based (rather than human subject) research; (2) it employs an evidence-based, logically-defensible research heurism; (3) it is biblical and theological with engagement with primary sources as appropriate; and (4) it is practical. The paper must be double-spaced and between 7-10 pages in length, exclusive of title page, contents page, and bibliography, and follow current Turabian format guidelines, utilizing footnote citations. The paper must consist of two distinct sections: argument analysis and revised research methodology. (CLO: D).

Quiz: Primary Source Research

Because this is a PhD in Practical Theology, engagement with the biblical text (primary source) sufficient to undergird both the theological and practical components of the student’s research is both required and expected. The student will complete a quiz verifying that they have engaged in appropriate primary source research related to their dissertation’s topic and focus. (CLO: E, F).

Quiz: Turabian Review

Because Kate Turabian’s A Manual for Writers is the style standard for the student’s dissertation, the student will complete a quiz verifying that they have reviewed the style guide sufficiently to be able to produce a clean dissertation. (CLO: E, F).

Quiz: Dissertation Supervisor Initial Consultation Assignment

Once the student has been notified of dissertation supervisor pairing, the student will reach out to the dissertation supervisor and request an initial consultation. This consultation meeting will typically be 20 to 30 minutes in length and will be conducted virtually through Microsoft Teams or the current video conferencing platform the university is using at the time. (CLO: G).

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Crime and Public Safety | An Oakland girl allegedly texted a boy to buy…

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Crime and public safety | an oakland girl allegedly texted a boy to buy marijuana. his friend tagged along and then killed her mother, police say.

The murder defendant, Ivan Gonzalez, of Oakland, was charged as a juvenile, all but ensuring he won’t be incarcerated past his 25th birthday if he’s convicted. A second defendant, 19-year-old Isaiah Gomez, has been charged in adult court with accessory after the fact for allegedly driving Gonzalez away from the shooting. Police also identified a 17-year-old boy as a suspect in the marijuana sale but charging information about him wasn’t immediately available.

The homicide occurred Aug. 7, after 33-year-old Maria Ramos pulled up alongside a vehicle containing the three teens, exited and sprayed the interior with pepper spray, authorities said. Gonzalez allegedly exited the car with a gun and fired multiple times at Ramos, who was struck and died where she fell. She left behind eight children, family members have said.

The conflict started hours earlier, when Ramos’ teen daughter allegedly messaged an Instagram account for marijuana, later telling police she’d purchased vape pens from the teen before. The boy arrived to the 5600 block of Hilton Street in East Oakland with two friends, and by then Ramos had learned of what transpired and was incensed, authorities say.

Ramos confronted the teens, who attempted to flee. Then she and her daughter drove up alongside them in an SUV, leading to the deadly confrontation, authorities said.

The shooting was captured on video and police were able to quickly identify the involved car. Undercover officers located the vehicle in another part of town and tracked it to Gomez’s home, which was promptly raided by police. One of Gomez’s family members allegedly told investigators that they were familiar with Gonzalez’s family and that Gomez confided in them that “Ivan” had shot someone that day, according to authorities.

Gomez, who faces the lone felony accessory count, has been released from jail but equipped with a GPS ankle monitor. He won’t be due in court again until October, records show. During a police interview, Gomez admitted to driving the other two away from the shooting scene, authorities said.

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Crime and Public Safety | All charges dropped against man accused of helping alleged burglars during killing of Oakland cop Tuan Le

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Delon's family deny his request to euthanise dog

The family of Alain Delon have overruled the late French actor's request for his pet dog to be put down and buried with him.

The 88-year-old, who died on Sunday, had asked for his pet dog Loubo, a 10-year-old Belgian malinois, to be humanely killed and laid in his grave.

However, following protests from animal rights activists, Delon’s daughter Anouchka confirmed the dog would not be killed and would stay within the family.

The French animal charity Fondation Brigitte Bardot said on X that "Loubo will of course not be euthanised" and that he "has a home and a family".

The equivalent of the RSPCA in France condemned Delon's decision and earlier this week said "the life of an animal should not depend on that of a human".

The SPA added that it was "happy to take his dog and find it a family".

There is no law in France that prohibits owners from putting down their pets.

In 2018, the French film legend told Paris Match magazine that he wanted to be buried with his "end of life dog" that he loved "like a child".

"I’ve had 50 dogs in my life, but I have a special relationship with this one. He misses me when I’m not there.

"If I die before him I will ask the vet to let us go together. He will inject him so that he dies in my arms.

"I would rather that than knowing that he would let himself die on my grave with so much suffering," he said.

At least 35 of Delon's dogs have been buried in a chapel in a cemetery that the actor created in the grounds of his home, La Brûlerie.

The french film legend was a star of the golden era of French cinema, known for his tough-guy persona on screen in hits including The Samurai and Borsalino.

Delon had been in poor health in recent years and had become a virtual recluse with his last public appearance at Cannes Film Festival in May 2019 where he received an honorary Palme d'Or.

French film giant Alain Delon dies aged 88

How alain delon's family was torn apart in tragic finale.

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Home > Fine Arts and Communications > Visual Arts > Theses and Dissertations

Visual Arts Theses and Dissertations

Theses/dissertations from 2014 2014.

A Maoli-Based Art Education: Ku'u Mau Kuamo'o 'Ōlelo , Raquel Malia Andrus

Accumulation of Divine Service , Blaine Lee Atwood

Caroline Murat: Powerful Patron of Napoleonic France and Italy , Brittany Dahlin

.(In|Out)sider$ , Jarel M. Harwood

Mariko Mori's Sartorial Transcendence: Fashioned Identities, Denied Bodies, and Healing, 1993-2001 , Jacqueline Rose Hibner

Parallel and Allegory , Kody Keller

Fallen Womanhood and Modernity in Ivan Kramskoi's Unknown Woman (1883) , Trenton B. Olsen

Conscience and Context in Eastman Johnson's The Lord Is My Shepherd , Amanda Melanie Slater

The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner , Katie Janae White

Theses/Dissertations from 2013 2013

Women and the Wiener Werkstätte: The Centrality of Women and the Applied Arts in Early Twentieth-Century Vienna , Caitlin J. Perkins Bahr

Cutting Into Relief , Matthew L. Bass

Mask, Mannequin, and the Modern Woman: Surrealism and the Fashion Photographs of George Hoyningen-Huene , Hillary Anne Carman

The End of All Learning , Maddison Carole Colvin

Civitas: A Game-Based Approach to AP Art History , Anna Davis

What Crawls Beneath , Brent L. Gneiting

Blame Me for Your Bad Grade: Autonomy in the Basic Digital Photography Classroom as a Means to Combat Poor Student Performance , Erin Collette Johnson

Evolving Art in Junior High , Randal Charles Marsh

All Animals Will Get Along in Heaven , Camila Nagata

It Will Always Be My Tree: An A/r/tographic Study of Place and Identity in an Elementary School Classroom , Molly Robertson Neves

Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess , Katelyn McKenzie Sheffield

Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop , Kathryn C. Smurthwaite

Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43 , Vriean Diether Taggart

Blooming Vines, Pregnant Mothers, Religious Jewelry: Gendered Rosary Devotion in Early Modern Europe , Rachel Anne Wise

Theses/Dissertations from 2012 2012

Rembrandt van Rijn's Jewish Bride : Depicting Female Power in the Dutch Republic Through the Notion of Nation Building , Nan T. Atwood

Portraits , Nicholas J. Bontorno

Where There Is Design , Elizabeth A. Crowe

George Dibble and the Struggle for Modern Art in Utah , Sarah Dibble

Mapping Creativity: An A/r/tographic Look at the Artistic Process of High School Students , Bart Andrus Francis

Joseph as Father in Guido Reni's St. Joseph Images , Alec Teresa Gardner

Student Autonomy: A Case Study of Intrinsic Motivation in the Art Classroom , Downi Griner

Aha'aina , Tali Alisa Hafoka

Fashionable Art , Lacey Kay

Effluvia and Aporia , Emily Ann Melander

Interactive Web Technology in the Art Classroom: Problems and Possibilities , Marie Lynne Aitken Oxborrow

Visual Storybooks: Connecting the Lives of Students to Core Knowledge , Keven Dell Proud

German Nationalism and the Allegorical Female in Karl Friedrich Schinkel's The Hall of Stars , Allison Slingting

The Influence of the Roman Atrium-House's Architecture and Use of Space in Engendering the Power and Independence of the Materfamilias , Anne Elizabeth Stott

The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education , Angela Ames West

Theses/Dissertations from 2011 2011

The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork , Jethro D. Gillespie

The Movement Of An Object Through A Field Creates A Complex Situation , Jared Scott Greenleaf

Alice Brill's Sao Paulo Photographs: A Cross-Cultural Reading , Danielle Jean Hurd

A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art , Jordan Jensen

A Core Knowledge Based Curriculum Designed to Help Seventh and Eighth Graders Maintain Artistic Confidence , Debbie Ann Labrum

Traces of Existence , Jayna Brown Quinn

Female Spectators in the July Monarchy and Henry Scheffer's Entrée de Jeanne d’Arc à Orléans , Kalisha Roberts

Without End , Amy M. Royer

Classroom Community: Questions of Apathy and Autonomy in a High School Jewelry Class , Samuel E. Steadman

Preparing Young Children to Respond to Art in the Museum , Nancy L. Stewart

DAY JAW BOO, a re-collection , Rachel VanWagoner

The Tornado Tree: Drawing on Stories and Storybooks , Toni A. Wood

Theses/Dissertations from 2010 2010

IGolf: Contemporary Sculptures Exhibition 2009 , King Lun Kisslan Chan

24 Hour Portraits , Lee R. Cowan

Fabricating Womanhood , Emily Fox

Earth Forms , Janelle Marie Tullis Mock

Peregrinations , Sallie Clinton Poet

Leland F. Prince's Earth Divers , Leland Fred Prince

Theses/Dissertations from 2009 2009

Ascents and Descents: Personal Pilgrimage in Hieronymus Bosch's The Haywain , Alison Daines

Beyond the Walls: The Easter Processional on the Exterior Frescos of Moldavian Monastery Churches , Mollie Elizabeth McVey

Beauty, Ugliness, and Meaning: A Study of Difficult Beauty , Christine Anne Palmer

Lantern's Diary , Wei Zhong Tan

Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes , Shelley Williams

Theses/Dissertations from 2008 2008

A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas , Monica Jayne Bowen

Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste" , Kiersten Claire Davis

Dairy Culture: Industry, Nature and Liminality in the Eighteenth-Century English Ornamental Dairy , Ashlee Whitaker

Theses/Dissertations from 2007 2007

Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum , Laura Paulsen Howe

And there were green tiles on the ceiling , Jean Catherine Richardson

Four Greco-Roman Era Temples of Near Eastern Fertility Goddesses: An Analysis of Architectural Tradition , K. Michelle Wimber

Theses/Dissertations from 2006 2006

The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour , Megan Marie Collins

Fix , Kathryn Williams

Theses/Dissertations from 2005 2005

Ideals and Realities , Pamela Bowman

Accountability for the Implementation of Secondary Visual Arts Standards in Utah and Queensland , John K. Derby

The Artistic and Architectural Patronage of Countess Urraca of Santa María de Cañas: A Powerful Aristocrat, Abbess, and Advocate , Julia Alice Jardine McMullin

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Department of the History of Art

You are here, dissertations, completed dissertations.

1942-Present

DISSERTATIONS IN PROGRESS

As of July 2024

Bartunkova, Barbora , “Sites of Resistance: Antifascism and the Czechoslovak Avant-garde” (C. Armstrong)

Betik, Blair Katherine , “Altars on the Roman Frontiers: Ritual Objects in Real Space.” (M. Gaifman)

Burke, Harry , “The Islands Between: Art, Animism, and Anticolonial Worldmaking in Archipelagic Southeast Asia” (P. Lee)

Boyd, Nicole , “Science, Craft, Art, Theater: Four ‘Perspectives’ on the Painted Architecture of Angelo Michele Colonna and Agostino Mitelli” (N Suthor). 

Chau, Tung , “Strange New Worlds: Interfaces in the Work of Cao Fei” (P. Lee)

Cox, Emily , “Perverse Modernism, 1884-1900” (C. Armstrong, T. Barringer)

Datta, Yagnaseni , “Materialising Illusions: Visual Translation in the Mughal Jug Basisht, c. 1602.” (K. Rizvi)

de Luca, Theo , “Nicolas Poussin’s Chronotopes” (N. Suthor)

Del Bonis-O’Donnell, Asia , “Trees and the Visualization of  kosmos  in Archaic and Classical Athenian Art” (Yale University, M. Gaifman)

Demby, Nicole , “The Diplomatic Image: Framing Art and Internationalism, 1945-1960” (K. Mercer)

Donnelly, Michelle . “Spatialized Impressions: American Printmaking Outside the Workshop, 1935–1975” (J. Raab)

Epifano, Angie , “Building the Samorian State: Material Culture, Architecture, and Cities across West Africa” (E. Cooke, Jr.)

Fialho, Alex , “Apertures onto AIDS: African American Photography and the Art History of the Storage Unit” (P. Lee, T Nyong’o)

Foo, Adela , “Crafting the Aq Qoyuniu Court (1475-1490) (E. Cooke, Jr.)

Franciosi, Caterina , “Latent Light: Energy and Nineteenth-Century British Art” (T. Barringer)

Frier, Sara , “Unbearable Witness: The Disfigured Body in the Northern European Brief (1500-1620)” (N. Suthor)

Galdone, Isabella , “Interwoven: Women Makers at the Intersection of Needlework and Painting in Victoria Britain” (T. Barringer, E. Cooke, Jr.)

Gaudet, Manon , “ Property and the Contested Ground of North American Visual Culture, 1900-1945” (E. Cooke, Jr.)  

Haffner, Michaela , “Nature Cure: ”White Wellness” and the Visual Culture of Natural Health, 1870-1930” (J. Raab)

Herrmann, Mitchell , “The Art of the Living: Biological Life and Aesthetic Experience in the 21st Century” (P. Lee)

Higgins, Lily , “Reading into Things: Articulate Objects in Colonial North America, 1650-1783” (E. Cooke, Jr.)

Hodson, Josie , “Something in Common: Black Art under Austerity in New York City, 1975-1990” (P. Lee)

Hong, Kevin , “Plasticity, Fungibility, Toxicity: Photography’s Ecological Entanglements in the Mid-Twentieth-Century United States” (C. Armstrong, J Raab)

Horwitz, Vu , “Palm Wine Cups from the Kuba Cultural Region” (Edward Cooke, Jr.)

Kim, Adela , “Beyond Institutional Critique: Tearing Up in the Work of Andrea Fraser” (P. Lee)

Kitlinski, Sophia , “The Bureaucracy of Ritual: Spanish Administrative Iconography and Afro-Cuban Sacred Drawing in Nineteenth-Century Cuba” (J. Raab)

Keto, Elizabeth , “Reconstruction’s Objects: Art in the United States South, 1861-1900.” (J. Raab)

Koposova, Ekaterina , “Triumph and Terror in the Arts of the Franco-Dutch War” (M Bass)

Levy Haskell, Gavriella , “The Imaginative Painter”: Visual Narrative and the Interactive Painting in Britain, 1851-1914” (T. Barringer, E. Cooke Jr)

Marquardt, Savannah , “Chthon: Material Eschatologies of Burial in Colonial Southern Italy (5th-4th c BCE)” (M. Gaifman)

Miraval, Nathalie , “Sacred Subversions: Martha, Monsters, and Domestic Devotion in the Early Modern Afro-Iberian Atlantic” (C. Fromont)

Mizbani, Sharon , “Mediated Waters: Architectures of Thirst and Nourishment in Late-Ottoman Istanbul” (K. Rizvi)

Molarsky-Beck, Marina . “Seeing the Unseen: Queer Artistic Subjectivity in Interwar Photography” (C. Armstrong)

Nagy, Renata , “Remaking Natural History in Seventeenth-Century Northern Europe” (M. Bass)

Olfat, Faraz , “Eclecticism in Architecture and the Politics of Nation Building, 1870-1920” (C. Buckley, E. Cooke, Jr.)

Petrilli-Jones, Sara , “Drafting the Canon: Legal Histories of Art in Florence and Rome, 1600-1800” (N. Suthor)

Phillips, Kate , “American Ephemera” (J. Raab)

Potuckova, Kristina , “The Arts of Women’s Monastic Liturgy, Holy Roman Empire, 1000-1200” (J. Jung)

Rapoport, Sarah , “James Jacques-Joseph Tissot in the Interstices of Modernity” (T. Barringer, C. Armstrong)

Robbins, Isabella , “Relationality and Being: Indigeneity, Space and Transit in Global Contemporary Art” (P. Lee, N. Blackhawk)

Sellati, Lillian , “When is Herakles Not Himself? Mediating Cultural Plurality in Greater Central Asia, 330 BCE – 365 CE” (M. Gaifman)

Valladares, Carlos , “Jacques Demy” (P. Lee)

Wang, Xueli , “Performing Disappearance: Maggie Cheung and the Off-Screen” (Q. Ngan)

Werwie, Katherine , “Visions Across the Gates: Materiality, Symbolism, and Communication in the Historiated Wooden Doors of Medieval European Churches” (J. Jung)

Wisowaty, Stephanie , “Painted Processional Crosses in Central Italy, 1250-1400: Movement, Mediation and Multisensory Effects” (J. Jung)

Webley, John , “Ink, Paint, and Blood: India and the Great Game in Russian Culture” (T. Barringer, M. Brunson)

Young, Colin , “Desert Places: The Visual Culture of the Prairies and the Pampas across the Nineteenth Century” (J. Raab)

Zhou, Joyce Yusi , “The Art and Material Culture of Women in Early Modern Batavia” (M. Bass, E. Cooke, Jr.)

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• Center for Research Libraries (CRL) Foreign Dissertations Search the CRL Catalog for dissertations already held at the Center. If a foreign dissertation is not at CRL, UCLA's Interlibrary Loan Service will request that CRL acquire it for your use. This special issue of Focus on Global Resources describes CRL's extensive collection of foreign dissertations.
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WHAT EXPERT RESEARCHERS KNOW

A thesis is typically the culminating project for a master's degree, while a dissertation completes a doctoral degree and represents a scholar's main area of expertise. However, some undergraduate students write theses that are published online, so it is important to note which degree requirements the thesis meets. While these are not published works like peer-reviewed journal articles, they are typically subjected to a rigorous committee review process before they are considered complete. Additionally, they often provide a large number of citations that can point you to relevant sources. 

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Dissertations & Theses @ Yale University A searchable databases with dissertations and theses in all disciplines written by students at Yale from 1861 to the present.

Yale University Master of Fine Arts Theses in Graphic Design​ Finding aid for Arts Library Special Collections holdings of over 600 individual theses from 1951 to the present. The theses are most often in book format, though some have more experimental formats. Individual records for the theses are also available in the library catalog.

Yale University Master of Fine Arts Theses in Photography Finding aid for Arts Library Special Collections holdings of over 300 individual Master of Fine Arts theses from 1971 to the present. The theses are most often in the format of a portfolio of photographic prints, though some theses are also in book form. Individual records for the MFA theses are also available in the library catalog.

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Digital Commons @ USF > College of The Arts > School of Art and Art History > Theses and Dissertations

Art and Art History Theses and Dissertations

Theses/dissertations from 2023 2023.

Fragmented Hours: The biography of a devotional book printed by Thielman Kerver , Stephanie R. Haas

Theses/Dissertations from 2022 2022

Assessing Environmental Sensitivity in San Diego County, California, for Bird Species of Special Concern , Eda Okan Kilic

Theses/Dissertations from 2021 2021

Empress Nur Jahan and Female Empowerment: A Critical Analysis of a Long-Forgotten Mughal Portrait , Angela N. Finkbeiner

Theses/Dissertations from 2019 2019

Seeing King Solomon through the Verses of Hafez: A Critical Study of Two Safavid Manuscript Paintings , Richard W. Ellis

Moving Away from The West or Taking Independent Positions: A Structural Analysis for The New Turkish Foreign Policy , Suleyman Senturk

A Quiet Valley at Roztoky : Testimony of Singularity in the Landscape Imagery of Zdenka Braunerová , Zdislava Ungrova

Theses/Dissertations from 2018 2018

Mirror Images: Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites) , Jeanie Ambrosio

Theses/Dissertations from 2016 2016

Incongruous Conceptions: Owen Jones’s Plans, Elevations, Sections and Details of the Alhambra and British Views of Spain , Andrea Marie Johnson

An Alternative Ancien Régime? Elisabeth Vigée-Lebrun in Russia , Erin Elizabeth Wilson

Theses/Dissertations from 2015 2015

Sarah Sze's "Triple Point": Modeling a Phenomenological Experience of Contemporary Life , Amanda J. Preuss

Cross-Cultural Spaces in an Anonymously Painted Portrait of the Ottoman Sultan Mahmud II , Alison Paige Terndrup

Theses/Dissertations from 2013 2013

The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI , Maureen Elizabeth Cox

Theses/Dissertations from 2012 2012

Painting Puertorriqueñidad: The Jíbaro as a Symbol of Creole Nationalism in Puerto Rican Art before and after 1898 , Jeffrey L. Boe

Franz Marc as an Ethologist , Jean Carey

Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro's "This Land is Mime Land" , Jennifer Danielle Mccall

Theses/Dissertations from 2010 2010

Empty Streets in the Capital of Modernity: Formation of Lieux de Mémoire in Parisian Street Photography From Daguerre to Atget , Sabrina Lynn Hughes

Theses/Dissertations from 2009 2009

Intervention in painting by Marlene Dumas with titles of engagement: Ryman's brides, Reinhardt's daughter and Stern , Susan King Klinkenberg

Self-fashioning, Consumption, and Japonisme : The Power of Collecting in Tissot’s Jeunes Femmes Regardant des Objets Japonais , 1869 , Catherine Elizabeth Turner

Theses/Dissertations from 2008 2008

Kandinsky’s Dissonance and a Schoenbergian View of Composition VI , Shannon M. Annis

Theses/Dissertations from 2007 2007

Re-Thinking the Myth of Perugino and the Umbrian School: A Closer Look at the Master of the Greenville's Jonas Nativity Panel , Carrie Denise Baker

I'm Not Who I Was Then, Now: Performing Identity in Girl Cams and Blogs , Katherine Bzura

Manifestations of Ebenezer Howard in Disneyland , Michelle M. Rowland

The assimilation of the marvelous other: Reading Christoph Weiditz's Trachtenbuch (1529) as an ethnographic document , Andrea McKenzie Satterfield

Theses/Dissertations from 2006 2006

Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996 , Devon P. Larsen

Vision and Disease in the Napoleonic Description de l’Egypte (1809-1828): The Constraints of French Intellectual Imperialism and the Roots of Egyptian Self-Definition , Elizabeth L. Oliver

Theses/Dissertations from 2005 2005

The articulate remedies of Dolores Lolita Rodriguez , Hyatt Kellim Brown

Negotiating Artistic Identity through Satire: subREAL 1989-1999 , Anca Izabel Galliera

From Chapel to Chamber: Liturgy and Devotion in Lucantonio Giunta’s Missale romanum , 1508 , Lesley T. Stone

Theses/Dissertations from 2004 2004

Ensenada , Julia DeArriba-Montgomery

Threatening Skies , Brandon Dunlap

Apocalypth pentagram , Matthew Alan Guest

African Costume for Artists: The Woodcuts in Book X of Habiti antichi et moderni di tutto il mondo , 1598 , Laura Renee Herrmann

The Artist and Her Muse: a Romantic Tragedy about a Mediocre and Narcissistic Painter Named Rachel Hoffman , Rachel Gavronsky Hoffman

Procession: The Celebration of Birth and Continuity , I Made Jodog

The Thornton Biennial: The Kruszka Pavilion: The 29YR Apology , Ethan Kruszka

american folk , Preston Poe

A Simple Treatise on the Origins of Cracker Kung Fu Or Mai Violence , Mark Joseph Runge

"My Journey" , Douglas Smith

Twilight , Britzél Vásquez

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Dissertations in art history : a guide: databases.

• UCB Dissertations
• Foreign Dissertations
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Both bibliographic databases ceased in 2015 but are freely available through INIST-CNRS. FRANCIS indexes over 3,000 journals, books, dissertations, and other European sources covering the humanities and social sciences (1972-2015). PASCAL offers bibliographic indexing of core scientific literature, and provides multidisciplinary and multilingual coverage for science, technology, and medicine with special emphasis on European content (1984-2015).

The PASCAL-FRANCIS Archive will become progressively enriched with other document types and with records of partners having previously cooperated with PASCAL and FRANCIS.

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Department of Art History

Dissertations

Dissertations completed in the Department of Art History, listed by the year in which the student defended.

• "Between Virtual and Real: A New Architecture of the Mogao Caves (Dunhuang, China), 781-1036 CE," Zhenru Zhou
• "Vera Molnar's Programmed Abstraction: Computer Graphics and Geometric Abstract Art in Postwar Europe," Zsofia Valyi-Nagy
• "Inventing Contemporary Chinese Architectural Culture in the Age of Globalization 1979-2006," Zhiyan Yang
• "'A Tragic Suburban Mentality': Managerial Lyricism in Contemporary Art," Jadine Collingwood
• "Henry the Lion and the Art of Politics in Northern Europe, c. 1142-1195," Luke Fidler
• "Interchanges: Construction of the U.S. Interstate Highway System and Artistic Practice, 1956-1984," Hanne Graversen
• "Roaming, Gazing, and Listening: Human Presence and Sensory Impression in Song Landscape Art," Meng Zhao
• "The City's Pleasures: Urban and Visual Culture of Garden Spaces in Shanghai, 1850s-1930s," Xi Zhang
• "Making Merit in the Tableau: Early Sixth-Century Chinese Stele," Dongshan Zhang
• "Caught by Surprise: Affect and Feminist Politics in the Art of Magali Lara," Maggie Borowitz 
• "Monochrome Painting and the Period Body in Andrea del Sarto's Cloister of the Scalzo," Christine Zappella 
• "(Re)Making the View: The Shifting Imaginary of West Lake, from the 13th to the 19th Century," Yunfei Shao 
• "The Visual Culture of English Medicine, 1348 - 1500," Carly Boxer
• "From Gold to Green: Visualizing the Environment in the Italian Renaissance," Chloé Pelletier
• "Making Spaces: Site-Based Practice in Contemporary Chinese Art in the Long 1990s," Nancy Pai Suan Lin
• "From Mouth to Hand: Mopa Mopa Images in the Northern Colonial Andes," Catalina Ospina 
• "How to Photograph the Air: Photography, Cinema, and the Problem of Atmosphere in German Modernism, 1893-1933," Katerina Korola
• "From the Ground Up: Yona Friedman and the Postwar Reimagining of Architecture," Jesse Lockard
• "Ruthenians in Early Modern Rome: Art and Architecture of a Uniate Community, 1596 – 1750," Anatole Upart
• "Unsettling the Spiritual Conquest: The Murals of the Huaquechula Monastery in Sixteenth Century Mexico," Savannah Esquivel
• "Likeness, Figuration, Proof: Geometry and the Arabic Book, 1050-1250," Meekyung MacMurdie
• "The Disputed City: Art, Architecture, and the Performance of Argument in Scholastic Paris (c.1120–c.1320)," Martin Schwarz
• "Beyond Treaty Ports: Chinese Photography 1860-1916: Practitioners, Contexts, and Trends," Tingting Xu
• "The History of Idolatry and the Codex Durán Paintings," Kristopher Driggers
• "Non Est Hic: Figuring Christ's Absence in Early Medieval Art," Nancy Thebaut
• “The Art of the Periodical:  Pan , Print Culture and the Birth of Modern Design in Germany, 1890 – 1900,” Max Koss
• "The Whole World is (Still) Watching: Early Video, the Televisual, and Nonviolent Direct Action, 1930s-1970s," Solveig Nelson
• "Criticism without Authority: Gene Swenson, Jill Johnston, Gregory Battcock," Jennifer Sichel
• "Evolving Photography: Naturalism, Art, and Experience, 1889-1909," Carl Fuldner
• " Water, Ice, Lapis Lazuli: the Metamorphosis of Pure Land Art in Tang China," Anne Feng
• " Le Roman de la Poire : Constructing Courtliness and Courtly Art in Gothic France," Elizabeth Woodward
• "Unfolded Worlds: Allegory, Alchemy, and the Image as Structure of Knowledge in Early Modern Northern European Scientific Books," Alexandra Marraccini
• “Consequences of Drawing: Self and History in Jacques-Louis David's Preparatory Practices,” Tamar Mayer
• “Seizing the Everyday: Lettrist Film and the French Postwar Avant-Garde,” Marin Sarvé-Tarr
• “Surrealism and the Art of Consumption,” Jennifer Rose Cohen
• “The Mancheng Tombs: Shaping the Afterlife of the ‘ Kingdom within the Mountains ’  in Western Han China (206BCE- 8CE),” Jie Shi
• “Kazimir Malevich and Russian Modernism,” Daniel Phillips
• “Engraving Identities in Stone: Stone Mortuary Equipment of the Northern Dynasties (386-581 CE),” Jin Xu
• “Past Black and White: The Color of Photography in South Africa,  1994-2004,” Leslie Wilson
• “Systems Depictions: A. R. Penck and the East German Underground, 1953-1980,” Hannah Klemm
• “Body Analyses / Poetic Acts: Ambivalences of Austrian Performance Art After 1945,” Caroline Schopp
• “Allan Kaprow and the Dialectics of Instruction, 1947-1968 ,” Emily Capper
• “Great Expectations: The South Slavs in the Paris Salon Canvases of Jaoslav Čermák and Vlaho Bukovac,”  Rachel Rossner
• “‘Writing Calculations, Calculating Writing’: The Art of Hanne Darboven ,” Victoria Salinger
• “The Art of Play: Games in Early Modern Italy ,” Kelli Wood
• “The Materiality of Azurite Blue and Malachite Green in the Age of the Chinese Colorist Qiu Ying (ca. 1498-ca.1552) ,” Quincy Ngan
• "Contested Spaces: Art and Urbanism in Brazil, 1928-1969," Adrian Anagnost
• “Mt. Sinai and the Monastery of St. Catherine:  Place and Space in Pilgrimage Art,” Kristine Larison
• “Planctus Provinciae: Arts of Mourning in Fifteenth-Century Provence ,” Rainbow Porthé
• “Amateurs: Photography and the Aesthetics of Vulnerability ,” Anna Lee
• “A Movable Continent: Collecting Africa in Renaissance Italy,”  Ingrid Greenfield
• “Ornament and Art Theory in Ancient Rome: An Alternative Classical Paradigm for the Visual Arts,”  Nicola Jane Barham
• “The Soft Style: Youth and Nudity in Classical Greece,”  Angele Rosenberg
• “Entangled Modernities: The Representation of China's Past in Early Twentieth Century Chinese and Japanese Art,”  Stephanie Su
• “Representing Difference: Early 20th Century Japanese and Korean Art,”  Nancy Lin 
• “Asia Materialized: Perceptions of China in Renaissance Florence,”  Irene Backus
• “Art on the Border: Galerie René Block and Cold War West Berlin,”  Rachel Jans
• “Creative Disruption: Contemporary Russian Performance Art,”  Michelle Maydanchik
• “Locating Identity: Mixed Inscriptions and Multiple Media in Greek Art, ca. 630–336 BCE,”  Ann Patnaude
• “Ephemeral Monument, Lasting Impression: The Abbasid Dar al-Khilafa Palace of Samarra,” Matt Saba
• “Making Danish Modern, 1945–1960 , ”  Maggie Taft
• “Exhibiting Modernity: National Art Exhibitions in China during the Early Republican Period, 1911–1937,”  Kris Ercums
• “Salon Caricature in Second Empire Paris,”  Julia Langbein
• “Art Photography and the Contentions of Contemporary Art: Rhetoric, Practice, and Reception,”  Phil Lee
• “Arts of Enshrining: The Making of Relics and Bodies in Chinese and Korean Buddhist Art from the 10th to the 14th Centuries,”  Seunghye Lee
• “The Literati Lenses: Wenren Landscape in Chinese Cinema,”   Mia Liu
• “The Civic Cornucopia of Ornament: The Florentine Picture Chronicle’s (1470–75) Somatic Visioning of the Festive City in the time of Lorenzo de’ Medici,”  Iva Olah
• “A Coat that Doesn't Fit: Jean Dubuffet in Retrospect, 1944–1951,”  Jill Shaw
• “Ben Enwonwu: His Life, Images, Education, and Art in the Context of British Colonialism in Nigeria,”  Freida High W. Tesfagiorgis
• “National Socialist Exhibition Design, Spectatorship, and the Fabrication of Volksgemeinschaft,”  Lawrence Michael Tymkiw
• “By Mind and Hand: Hollis Frampton’s Photographic Modernism,” Lisa Zaher
• “Quest for the True Visage: Sacred Images in Medieval Chinese Buddhist Art and the Concept of Zhen,”  Sun-ah Choi
• “Towards a New Reading of Aumônières,”  Nancy Feldman
• “Dimensions of Place: Map, Itinerary, and Trace in Images of Nanjing,”  Catherine Stuer

• “Different Objects: Repositioning the Work of Four ‘African Diaspora Artists,’”  Ian Bourland
• “Picturing the Yangzi River: Particular Landscapes in Southern Song China,”  Julia Orell
• “A Painter of Cuban Life: Victor Patricio de Landaluze and Nineteenth-Century Cuban Politics,”  Evelyn Carmen Ramos
• “Art at the limits of Modernization: The Artistic Production of Beatriz González 1962–1978,”  Ana Maria Reyes
• “Building a Community through Painting: Fourteenth-Century Chinese Scholars,”  Christina Yu
• “Mutable Authority: Reimaging King Solomon in Medieval Psalm Illustration,”  Kerry Boeye
• “The Aesthetics of Encounter (Mediated Intimacies in Recent Art),”  Kris Cohen
• “Domestic Arts: Amelia Peláez and the Cuban Vanguard (1935–1945),”  Ingrid Elliott
• “Rebellious Conformists: Avant-Garde Exhibitions in Mexico City and Buenos Aires,”  Harper Montgomery
• “Privacy and Abstraction: American Painting, Late Modernism, and the Phenomenal Self,”  Christa Robbins
• “The Art of Punishment: The Spectacle of the Body on the Streets of Constantinople,”  Galina Tirnanic
• “Responding to the World: Contemporary Chinese Art and the Global Exhibitionary Culture in the 1990s,”  Peggy Wang
• “Pedagogy, Modernism, and Medium Specificity: The Bauhaus and John Cage,” Jeffrey Saletnik
• “Inventing 'Documentary' in American Photography, 1930–1945,”  Sarah Miller
• “Masks and Puppets: Metamorphosis and Depersonalization in European Avant-Garde Art Criticism, 1915–1939,”  Joyce Cheng
• “Tracing the Texture of Stone: Unearthing the Origins of Modern Korean Painting from the Archaeological Remains of the Past,”  Christine Hahn
• “Buffoons, Rustics, and Courtesans: Low Painting and Entertainment Culture in Renaissance Venice,”  Chriscinda Henry
• “Nothing to Look at: Art as Situation and its Neuro-Psychological Implications,”  Dawna Schuld
• “Landscapes of Conversion: Franciscan Politics and Sacred Objects in Late Colonial Mexico,”  Cristina Gonzalez
• “Gestures of Iconoclasm: East Berlin's Political Monuments from the Late German Democratic Republic to Postunified Berlin,”  Kristine Nielsen
• “Picture-Loving: Photomechanical Reproduction and Celebrity in America’s Gilded Age,” Eileen Michal
• “Abstraction and Einfühlung: Biomorphic Fantasy and Embodied Aesthetics in the work of Hermann Obrist, August Endell and their Followers, ”  Stacy Hand
• “Theatricalizing Death in Performance Images of Mid-Imperial China,” Jeehee Hong
• “A Vicarious Conquest of Art and Nature at the Medici Court,” Lia Markey
• “An Eye for the Feast in Late Medieval Burgundy,” Christina Normore
• “Sculpture Parks, Sculpture Gardens, and Site Specific Practices in the US, 1965-1991,” Rebecca Reynolds
• “Putti, Pleasure, and Pedagogy in Sixteenth-Century Italian Prints and Decorative Arts,”  Alexandra Korey
• “Jewish Expressionism: The Making of Modern Jewish Art in Berlin,”  Celka Straughn
• “Figures en buste in Medieval China: Three Studies,”  Yudong Wang
• “Narrating Sanctity: The Narrative Icon in Byzantium and Italy,”  Paroma Chatterjee
• “Bodies of the Avant-Garde: Modern Dance and the Plastic Arts, 1890-1930,”  Ellen Andrew
• “Ethnicity and Esoteric Power: Negotiating Sino-Tibetan Synthesis in Ming Painting,”  Karl Debreczeny
• “On the Lips of Others: Fame and the Transformation of Moctezuma's Image,”  Patrick Hajovsky
• “Chinese Modern: Sun Yat-Sen's Mausoleum as a Crucible for Defining Modern Chinese Architecture,”  Delin Lai
• “Creative Pathologies: French Experimental Psychology and Symbolist Avant-Gardes, 1889-1900,”  Allison Morehead
• “Rebuilding Bungalows: Home Improvement and the Historic Chicago Bungalow Initiative,”  Anne Stephenson
• “Robert Hooke Fecit: Making and Knowing in Restoration London,”  Matthew Hunter
• “Antiquity to Antiquarianism: Chinese Discourses on Antiquity from the Tenth to Thirteenth Century,”  Yun-Chiahn Sena
• “‘Realized Day-Dreams ’ : Excursions to Authors’ Homes,”  Erin Hazard
• “Layers of Being: Bodies, Objects, and Spaces in Warring States Burials,”  Joy Beckman
• “Building a Sacred mountain: Buddhist Monastic Architecture in Mt. Wutai during the Tang Dynast, 618-907 C.E.,”  Wei-Cheng Lin
• “The Origins of the American School Building: Boston Public School Architecture, 1800-1860,”  Rachel Remmel
• “Between Seeing and Knowing: Shifting Standards of Accuracy and the Concept of Shashin in Japan, 1830-1872,”  Maki Fukuoka
• “The Body and the Family: Filial Piety and Buddhist Art in Late Medieval China,”  Winston Kyan
• “Sites of Lost Dwelling: The Figure of the Archaic City in the Discourses of Urban Design, 1938-1970,”  Anthony Raynsford
• “Images and Memory: The Construction of Collective Identities in Seventeenth-Century Quito,”  Carmen Fernandez
• “Experiment in Seventeenth-Century Dutch Painting: The Art of Carel Fabriitus,”  Lisa Pincus
• “Making the Scene: Assemblage, Pop Art and Locality in 1960s Los Angeles,”  Ken Allan
• “Reframing Viceregal Painting in Nineteenth-Century Mexico: Politics, The Academy of San Carlos, and Colonial Art History,”  Ray Hernandez
• “Collecting Objects/Excluding People: Chinese Subjects and the American Art Discourse, 1870-1900,”  Lenore Metrick
• “Politics on the Cloister Walls: Fra Angelico and His Humanist Observers at San Marco,”  Allie Terry
• “Last Judgments and Last Emperors: Illustrating Apocalyptic History in Late and Post-Byzantine Art,”  Angela Volan
• “I Cannot Paint You But I Love You: Portraiture and the Pre-Raphaelite Search for the Ideal-Elizabeth Siddall, Dante Gabriel Rossetti, Jane Burden, and William Morris,”  Amy Bingaman
• “The Moor's Last Sigh: Boabdil and the Black Image in American Orientalism, 1816-1893,”  James Brunson
• “Photography and the Imperceptible: Bertillon, Galton, Marey,”  Josh Ellenbogen
• “Rubbernecking and the Business of Disaster,”  Emily Godbey
• “Better than the Prodigies: The Prints of Hans Burgkmair, Jorg Breu, and the Marvels of the New World,”  Stephanie Leitch
• “Representing Sappho: The Classical Tradition in Nineteenth-Century French Painting,”  Rachel Lindheim

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Writing a thesis, department schedule of thesis preparation .

The thesis writer and adviser should agree on a working schedule which will adequately conform to the calendar of thesis requirements established by the Senior Honors Adviser. Each of these written requirements should be submitted to the Tutorial Office for review by the Senior Honors Adviser. Paradigms for each of the written requirements are held on file in the Tutorial Office, for consultation.  An updated schedule of departmental dates and deadlines relative to the thesis will be available at the beginning of each Fall Term.  All writers of the senior thesis shall enroll in an HAA 99 for course (and requirement) credit - joint concentrators will enroll in the 99 course of their primary concentration.

Beginning in 2006-07, every concentrator writing a thesis will enroll in the senior thesis seminar in the fall of the senior year. Overseen by the Senior Honors Adviser, the senior thesis seminar will meet several times during the semester for a two-hour session devoted to facilitating the preparation and writing of a thesis. These sessions will cover such topics as compiling a bibliography, using archives, and constructing an effective argument. Late in the semester, each participant will deliver a twenty-minute presentation on his or her thesis topic, illustrated with slides or digitally projected images. All departmental faculty and students will be invited to these presentations. By the end of the semester, each participant in the seminar will submit a complete first draft of the thesis, complete with illustrations.

Application for Pulitzer and Abramson Travel Grants: Early March. See above under Prizes for details on grant and application.

Announcement of Pulitzer and Abramson Grant Awards Mid-March: By letter to the recipients.

Adviser's Review: Early March. Ideally, you should present the full, finished and finalized draft of your text to your adviser for a final review before formal submission to the Department.

Thesis Submission: Mid-March - a week before Spring Break. You must submit your thesis in the afternoon at a Thesis Reception. In exchange for your finely crafted magnum opus you will receive a glass of champagne and our heartiest congratulations. Please do attend this afternoon because a thesis submitted late is usually not accepted.

Reader's Response: after Early May. Senior Honors Theses are read and critiqued by Members of the Faculty and the Museum at the request of the Senior Honors Adviser. Readers' identities no longer remain anonymous.

Faculty Meeting on Honors: Early May. Department Faculty meet to vote on final honors recommendations, after which thesis writers will receive by letter from the Senior Honors Adviser notification of their thesis grade and recommendation for honors. Writers will also receive at this time the written responses of their readers. Students should speak with their Allston Burr Senior Tutor for anticipated final honors decision of the College.

Grading of the Senior Thesis

Theses are read and critiqued by faculty members applying a higher standard than expected for work written in courses or tutorials. Faculty do make use of the full range of grades, and students should consider that any honors grade is a distinction of merit. If you have any questions, please contact the Senior Honors Adviser, the Director of Undergraduate Studies, or the Undergraduate Coordinator at 495-2310.

SUMMA CUM LAUDE: A summa thesis is a work of "highest honor." It is a contribution to knowledge, though it need not be an important contribution. It reveals a promise of high intellectual attainments both in selection of problems and facts for consideration and in the manner in which conclusions are drawn from these facts. A summa thesis includes, potentially at least, the makings of a publishable article. The writer's use of sources and data is judicious. The thesis is well written and proofread. The arguments are concise and logically organized, and the allocation of space appropriate. A summa is not equivalent to just any A, but the sort given by instructors who reserve them for exceptional merit. A summa minus is a near miss at a summa and is also equivalent to an A of unusual quality.

MAGNA CUM LAUDE: A magna level thesis is a work worthy of "great honor." It clearly demonstrates the capacity for a high level of achievement, is carried through carefully, and represents substantial industry. A magna plus thesis achieves a similar level of quality to a summa in some respects, though it falls short in others; it is equivalent to the usual type of A. A magna thesis is equivalent to an A-. For a magna minus, the results achieved may not be quite a successful due to an unhappy choice of topic or approach; it is also equivalent to an A-.

CUM LAUDE: As is appropriate for a grade "with honors," a cum level thesis shows serious thought and effort in its general approach, if not in every detail. A cum plus is equivalent to a B+, a cum to a B, and a cum minus to a B-. The cum thesis does not merely represent the satisfactory completion of a task. It is, however, to be differentiated from the magna in the difficulty of the subject handled, the substantial nature of the project, and the success with which the subject is digested. Recall that, as students putting extraordinary effort into a thesis most frequently receive a magna, theses of a solid but not exceptional quality deserve a grade in the cum range. When expressed in numerical equivalents, the interval between a magna minus and a cum minus is double that between the other intervals on the grading scale.

NO DISTINCTION: Not all theses automatically deserve honors. Nevertheless, a grade of no distinction (C, D, or E) should be reserved only for those circumstances when the thesis is hastily constructed, a mere summary of existing material, or is poorly thought through. The high standards which are applied in critique of theses must clearly be violated for a thesis to merit a grade of no distinction.

Examples of Past Theses 

Senior Honors Theses which are written by students who graduate Summa or Magna are deposited in the University Archives in Pusey Library. Copies of theses which are awarded the Hoopes Prize are held in Lamont. Students are urged to consult past theses as much can be gained in exploring precedent or seeking inspiration.

Discontinuance of a Thesis 

The process of writing the thesis is a serious commitment of time and energy for both the writer and the adviser. In some cases, however, it might be agreed that the thesis should be discontinued at mid-year. The Senior Tutorial HAA 99 may be divided with credit through a procedure in which the student must submit a written paper presenting the project and research to that point.

Guidelines for Writers and Advisers of Senior Theses  

Senior Concentrators wishing to graduate with honors in the Department must write a senior thesis and carry academic standing of Group II or better, with a minimum GPA of 3.00 in concentration grades. In deciding whether one wishes to fulfill the honors requirements the student should consider his/her academic interests, commitment to independent research and other deadlines and obligations during the thesis year. Many students find the task of researching and writing a substantial piece of critical scholarship interesting and rewarding, but others find the senior thesis can become a frustrating and unwieldy burden. Some students prefer the freedom to savor extra-curricular pursuits during their last year at the College unhampered by the encroaching demands of thesis preparation. In general, it may be remarked that students are unlikely to do well in the honors program who are not already committed to this process of scholarship, and proven practiced writers; the senior thesis is not the place to acquire basic skills in writing and research. In considering the Department's honors requirements, it should be remembered that students with honors grades overall may graduate with University Honors (Cum Laude) even if they do not receive Honors in History of Art and Architecture.

Academic Requirements 

The writing and evaluation of the thesis is a year long process, during which the writer meets at scheduled intervals with his/her adviser, to formulate, develop, and ultimately refine their thesis work. The Department has also instituted a "thesis writing seminar" which writers will participate in through the fall term. The thesis is due just before spring break, and is then sent to its readers for their judgment and critique. The final thesis grade and recommendation for honors is determined at a faculty meeting in mid-May. Students working towards a March degree will follow a schedule to finish the thesis in early December.

The Department encourages seniors to think broadly and explore a problem of interest. The thesis topic does not necessarily have to be within the writer's declared major field, except when required for a joint concentration, in which case, the topic must address an issue shared by both concentrations. The thesis should demonstrate an ability to pose a meaningful question, present a well-reasoned and structured argument, and marshal appropriate evidence. The student should apply a clear methodology and be aware of the assumptions behind the argument, the possible deficiencies of the sources and data used, and the implications of the conclusions. The various parts of the thesis should cohere in an integrated argument; the thesis should not be a series of loosely connected short essays. A primary expectation of the thesis is that it is a work of independent scholarship, directed and crafted by the student, with the thesis adviser serving in a capacity of "indirect overseeing of the project".

There is no set pattern for an acceptable thesis. The writer should demonstrate familiarity with scholarly methods in the use of sources, but this should not be the sole criterion for evaluation. Of equal if not greater importance is the development of the central argument and the significance of the interpretation. A thesis may be research on a little-studied problem or a perceptive reassessment of a familiar question. A well-pondered and well-presented interpretive essay may be as good a thesis as a miniature dissertation.

Skill in exposition is a primary objective, and pristine editing is expected.  The department encourages writers to keep to a very short page count, so as to craft a clear, concise paper, and further edit it to an exemplary presentation. In general, a History of Art and Architecture thesis will have a text ranging from 40 to 80 pages, dependent upon the topic. Students are encouraged to explore the resources available to thesis writers at the Writing Center and the Bureau of Study Counsel.

The writer must indicate the source of material drawn from others' work, whether quoted or summarized. Violations of this rule are considered serious and should be brought to the attention of the Director of Undergraduate Studies immediately.

Senior Honors Adviser 

The process of taking honors and writing the thesis in this Department is overseen for all concentrators by the Senior Honors Adviser. The Senior Honors Adviser leads the Fall Term thesis-writing seminar, and directs the meetings for departmental approval once theses have been submitted.  The department Tutorial Office holds examples of the written requirements (Thesis proposal and prospectus) and of the Pulitzer, and Abramson Grant application which students might wish to consult as paradigms.

Thesis Adviser 

Students must seek a thesis adviser who is a full faculty member of the History of Art and Architecture Department or museum curator holding a teaching appointment in this department. The adviser ought to serve as a critic of your synthesized ideas and writings, rather than as a director of your work. The adviser should be chosen with consideration more to compatibility in overseeing the process of the work than to being an expert in the field. Prospective advisers should be approached as soon as you have identified a thesis topic. You should be prepared to show examples of your written work to your prospective adviser. Your verbal agreement with your adviser should be communicated promptly to the Senior Honors Adviser. If you have trouble identifying an appropriate adviser, please consult with the Senior Honors Adviser before the deadline for the Thesis Proposal.

Graduate students in the Department of History of Art and Architecture do not advise Senior Theses.

Thesis Readers 

As voted by majority consensus of department faculty, a new procedure for the reading and grading of senior theses will go into effect. Each thesis will have two readers chosen by the Department, ideally, but not exclusively,one from within the student's area of interest, and the thesis adviser. All readers will be asked to submit written comments and grades, which will be factored equally to produce the final grade of the thesis. Individual grades are not released and the readers no longer remain anonymous, and there exists a procedure by which a writer may request, via the Senior Adviser, to speak with a reader provided that reader is willing to discuss the work in further detail or expound on the written critique.

Grade Report and Honors Recommendation 

At the end of each term, Fall and Spring, the student's progress in the Senior Tutorial (HAA 99) will be graded SAT or UNSAT. At the end of the Department's Honors Review process the Senior Honors Adviser calculates a recommendation for Honors based on the factored grades of the thesis and the student's grades in concentration coursework. This recommendation is presented to the faculty at their meeting in May for review. A faculty vote is taken and this decision is passed as an honors recommendation to the Registrar of the College. The decision of Final Honors to be granted on the degree is made by the Registrar based on departmental recommendation and grades. Students should consult with their Allston Burr Senior Tutor to determine what final honors might be anticipated at Commencement.

The needs of the Department for fair deliberation dictate that there may be no report of decisions regarding the thesis until after the Faculty has considered and voted upon each recommendation for honors. After honors recommendations have been voted by the faculty, students will be notified of the department's recommendation to the College and will receive an ungraded copy of each evaluation of their thesis (the needs of the Department for fair deliberation dictates that there may be no report of decisions regarding the thesis until after the Departmental Honors Meeting). The comments in these evaluations should provide the student with a clear explanation of the strengths and weaknesses of the thesis, bearing in mind the difficulties of the field and the type of thesis submitted, and evaluating what was accomplished in terms of what was undertaken, given the student's limitation of time and experience.

Proposal for Senior Thesis Design Projects, Honors Consideration

The History of Art and Architecture concentration asks Harvard College students to select an Area of Emphasis for fulfillment of their degree - either Design Studies or History + Theory. The History + Theory Area of Emphasis has traditionally required the completion of a senior thesis paper and presentation as a product of two requirements in order for the student to be eligible for honors consideration: 1/ completion of course HAA 99a Senior Thesis Tutorial and 2/ discussion of a thesis topic to be studied in said course supported through advisement by History of Art and Architecture faculty over the fall and spring semesters of senior year.

The Design Studies Area of Emphasis orients students toward making-based design courses wherein students develop design experiments engaging disciplinary issues, often incorporative of both historical and contemporary architectural precedents. The primary courses currently offered that address thinking through making include: HAA 179x Tectonics Lab (fall), HAA 92r Design Speculations (fall), HAA 96a Transformations (spring), and HAA 96Bb Connections (spring). An increasing number of Harvard College students who have selected the Design Studies Area of Emphasis are interested in extending their architectural design focus to their conclusive senior year work via ‘creative thesis’ projects. These creative thesis projects would include a hybrid of written text and visual and physical design materials originally produced by the student.

This proposal outlines a draft course requirement guideline and set of final submission requirements for a senior thesis design project that aims to support the design and making-based methodologies as thesis research on a topic of interest while simultaneously paralleling the well-conceived course requirements of the traditional thesis paper and presentation within HAA. This proposal offers that through the requirements outlined here, this senior thesis design project could be eligible for honors consideration for any student pursuing this final thesis option.

Senior Thesis Design Project / Course Requirements for Honors Consideration

Senior Year – fall term

1/ HAA 92r Design Speculations Seminar – required (see fall 2019 HAA 92r syllabus for details)

• course prerequisite: completion of either HAA 96a Transformations or HAA 96b Connections studios
• this course requires students secure a pair of faculty advisor - one from Harvard History of Art and Architecture (HAA) faculty and one from the Harvard GSD to support their research work within the course; course faculty advisor(s) would serve as advising faculty for senior thesis design project
• Megan Panzano, GSD Arch Studies Director, and Jennifer Roberts, HAA DUS, would both help make faculty advisor connections for students pursuing this path

2/ HAA 99a Senior Thesis Tutorial (fall) – strongly suggested to be taken in parallel with HAA 92r above

3/ Presentation of design work to History of Art and Architecture and select GSD faculty as part of HAA Thesis Colloquium (fall) – required

• to be coordinated with senior thesis tutorial presentations usually made to faculty in December of senior year fall term

Senior Year – spring term

1/ Advisement meetings with individual faculty advisors to guide production of design work (architectural analytical drawings and/or physical models) and edits to digital presentation made in fall term to HAA

2/ Submission of final senior thesis design project digital presentation inclusive of photographs of physical models, high resolution originally-produced design drawings as a PDF and descriptive written text to accompany images in presentation*

Senior Thesis Design Project / Submission Requirements for Honors Consideration

Final Project Requirements: A single multi-page PDF file labeled with student’s full last name and first initial and should be submitted containing the following elements:*

• Assemble a visual bibliography of references for your ongoing research project. The references included should be sorted into categories of your own authoring in relation to the research. Each reference should be appropriately cited using the Chicago Manual of Style for recording citations (refer to The Chicago Manual of Style ), and each reference should also include an affiliated image. This bibliography should include a brief annotation, which should comprise a description of the rationale/intention behind sorted categories of research references. This description should be approximately 200 words.
• Discourse , the development of a proposition for the role and significance of architecture relative to the project topic of interest, and
• Context , the relationship of the project topic of study to broader surroundings which include but are not limited to the discipline of architecture, cultural contexts, technical developments and/or typologies.
• The manifesto should take into account the intended audience for the project and use language and modes of communication that reflect this audience in the written text.
• A visual drawing or info-graphic that describes your process of design research on your topic. This will include the criteria for evaluating the project, the steps planned to be taken in examining the topic, and when/where along the process of working it may be necessary to stop and assess outputs and findings.
• High resolution drawings, animations, and/or diagrams and photographs of physical models (if applicable) that have been produced through research. These should be assembled in single-page layouts of slides to follow preceding elements listed here.

 *submission deadlines would parallel HAA thesis paper draft and final submission schedule

Columbia University Libraries

Art history: resources for research: 8-dissertations.

• 1-Literature Guides/Research Methods
• 2-Primary Resources
• 3-Directories & Biographical Dictionaries
• 4-Encyclopedias & Dictionaries, Multi-volume Surveys & Corpora
• 5-Indexes, Current Bibliographies & Online Journal & Book Collections
• 6-Specialized Subject Bibliographies & Websites
• 7-Festschriften

8-Dissertations

• 9-Museum & Exhibition Catalogs
• 10-Iconography
• 11-Image Indexes & Online Image Sites
• 12-Geographical, Topographical Sources, Cultural Heritage & Guides
• 13-Artists' Signatures
• 14-Sales/Auction Catalogs & Provenance Indexes
• 15-Archives
• 16-Library Catalogs & Directories
• 17-Accessing Licensed & Open Online Resources
• 18-Citing Sources

Resources marked with this symbol are restricted to Columbia affiliates.

Columbia university, general (all disciplines).

Jahresverzeichnis der Deutschen Hochschulschriften . (Online:1890-1900, 1904-1909, limited view: 1940-1942) Butler Offsite R016.37843 J19  (1937-1970) Index to German dissertations. Arranged by institution.

Fine Arts & Archaeology

Archaologischer Anzeiger . (1963 to date) Avery AC D480105 End of each year it lists current dissertations in archaeology from Germany and Austria. Arranged by author, gives dissertation title, institution or university and date of completion.

Burt, Eugene. Ethnoart: Africa, Oceania, and the Americas; a Bibliography of Theses and Dissertations . (1988) Avery-Fine Arts N5313 AB95 An example of a subject specific bibliography of dissertations.

Current Lists in Fine Arts (a sample)

CAA.Reviews/Dissertations . (Online) (http://www.caareviews.org/dissertations) 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.

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Department of History of Art

Undergraduate dissertations, best undergraduate dissertations:.

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CUNY Academic Works

Home > Dissertations, Theses & Capstones Projects by Program > Art History Dissertations

Art History Dissertations

Dissertations from 2024 2024.

A Municipal Modernity: Women, Architecture, and Public Health in Working-Class New York, 1913–1950 , Jessica Fletcher

Without Us There Is No Britain: Black British Photography and Film Networks, 1950-1989 , Maria T. Quinata

Dissertations from 2023 2023

The Gilded Tropics: Winslow Homer and John Singer Sargent in Florida, 1886-1917 , Theodore W. Barrow

Flamboyant Abundance: Performing Queer Maximalism, 1960–1990 , Jack Owen Crawford

"A Decorator in the Best Sense": Ludwig Mies van der Rohe, Lilly Reich, the Fabric Curtain Partition, and the Articulation of the German Modern Interior , Marianne E. Eggler-Gerozissis

From Allegory to Revolution: The Inca Empire in the Eighteenth-Century French Imagination , Agnieszka A. Ficek

“Delicious Libation”: The Art of the Coffee Trade from Brazil to the United States, 1797-1888 , Caroline L. Gillaspie

Fifteenth-Century Sienese Art in Its International Setting: A Case Study of Cross-Cultural Exchange in Italy and Beyond , Maria Lucca

Creative Figures: Portraiture and the Making of the Modern American Artist, 1918-1930 , Sasha Nicholas

Raphael Montañez Ortiz and Alternative Art Spaces, 1966–1971: From Repulsion to Exaltation , Ana Cristina Perry

Styling Sweatshops: Seamstress Imagery, Industrial Capitalism, and Nationalist Agendas in Nineteenth-Century Europe and the United States , Alice J. Walkiewicz

Dissertations from 2022 2022

Pop/Art: The Birth of Underground Music and the British Art School, 1960–1980 , Andrew Cappetta

After the Renaissance: Art and Harlem in the 1960s , Maya Harakawa

Cultural Predicaments: Neorealism in The Netherlands, 1927–1945 , Stephanie Huber

Hellenikotita — Greekness: Constructing Greek Genre Painting, Visualizing National Identity, 1850–1900 , Olga Zaferatos Karras

Contextualizing Britain’s Holocaust Memorial and Museums: Form, Content, and Politics , Rebecca D. Pollack

The Beehive, the Favela, the Castle, and the Ministry: Race and Modern Architecture in Rio de Janeiro, 1811–1945 , Luisa Valle

Globalism and Identity in Taiwanese Contemporary Art, 1978–2009 , Chu-Chiun Wei

Dissertations from 2021 2021

Europ: Expanded Cinema, Projection and the Film Co-op in Western Europe, 1966–1979 , Drew E. Bucilla

Inevitable Associations: Art, Institution, and Cultural Intersection in Los Angeles, 1973–1988 , Liz Hirsch

Xanthus Smith: Marine Painting and Nationhood , Eva C. McGraw

Art After Dark: Economies of Performance, New York City 1978–1988 , Meredith Mowder

The Integration of Art, Architecture, and Identity: Alfred Kastner, Louis Kahn, and Ben Shahn at Jersey Homesteads , Daniel S. Palmer

The Making of Transpacific Video Art, 1966–1988 , Haeyun Park

The U.S.–Mexican War: Visualizing Contested Spaces from Parlor to Battlefield , Erika Pazian

After Abstract Expressionism: Reconsidering the “Death of Painting” at Midcentury , Natasha Roje

The Painter and His Poets: Paul Gauguin and Interartistic Exchange , Aaron Slodounik

Compromised Values: Charlotte Posenenske, 1966–Present , Ian Wallace

Dissertations from 2020 2020

Traditions and Transformations in the Work of Adál: Surrealism, El sainete , and Spanglish , Margarita J. Aguilar

Norman Lewis: Linearity, Politics, and Pedagogy in His Abstract Expressionism, 1946–1964 , Andrianna T. Campbell-LaFleur

The Art of Opacity: Guy de Cointet in L.A. , Media Farzin

Northwest Coast Native Art Beyond Revival, 1962–1992 , Christopher T. Green

Staging the Modern, Building the Nation: Exhibiting Israeli Art, 1939–1965 , Chelsea Haines

Labor and the Picturesque: Photography, Propaganda, and the Tea Trade in Colonial India and Sri Lanka, 1880–1914 , Leila Anne Harris

The International Rise of Afro-Brazilian Modernism in the Age of African Decolonization and Black Power , Abigail Lapin Dardashti

Accomplices in Art: The Expansion of Authorship in the 1970s and '80s , Sydney Stutterheim

The “Olympiad of Photography”: FIAP and the Global Photo-Club Culture, 1950–1965 , Alise Tifentale

Dissertations from 2019 2019

A Series of Acts that Disappear: The Valparaíso School’s Ephemeral Architectures, 1952–1982 , Elizabeth Rose Donato

Added Interpretive Centers at U.S. War Memorials and the Reframing of National History , Jennifer K. Favorite

Stills of Passage: Photography and Migration in the US-Mexico Borderlands, 1978-1992 , Nadiah Rivera Fellah

Arts et Métiers PHOTO- Graphiques : The Quest for Identity in French Photography between the Two World Wars , Yusuke Isotani

Crossing the Atlantic: Italians in Argentina and the Making of a National Culture, 1880–1930 , Lauren A. Kaplan

The Evolution of the Centaur in Italian Renaissance Art: Monster, Healer, Mentor, and Constellation , Trinity Martinez

Weaving Modern Forms: Fiber Design in the United States, 1939–1959 , Sarah Mills

The "I" of the Artist-Curator , Natalie Musteata

Ray Johnson: Collage as Networked "Correspondance" , Gillian Pistell

Mechanical Kingdoms: Sound Technologies and the Avant-Garde, 1928–1933 , Lauren Rosati

Minor Forms, Dismantled Norms: Mediums of Modernism in Pakistan , Gemma Sharpe

Gendered Subjectivity and Resistance: Brazilian Women’s Performance-for-Camera, 1973–1982 , Gillian Sneed

Framing the City: Photography and the Construction of São Paulo, 1930–1955 , Danielle J. Stewart

Between the Cracks: From Squatting to Tactical Media Art in the Netherlands, 1979–1993 , Amanda S. Wasielewski

Dissertations from 2018 2018

Writing with Light: Cameraless Photography and Its Narrative in the 1920s , Karen K. Barber

Bloomsbury's Byzantium and the Writing of Modern Art , Elizabeth Sarah Berkowitz

The Labyrinth and the Cave: Archaic Forms in Art and Architecture of Europe, 1952–1972 , Paula Burleigh

The South Korean “Meta-Avant-Garde,” 1961–1993: Subterfuge as Radical Agency , Sooran Choi

Creating 1968: Art, Architecture, and the Afterlives of the Mexican Student Movement , Mya B. Dosch

Cellist, Catalyst, Collaborator: The Work of Charlotte Moorman , Saisha Grayson

Modern Arts and Pueblo Traditions in Santa Fe, 1909–1931 , Elizabeth S. Hawley

Women’s Suffrage in American Art: Recovering Forgotten Contexts, 1900-1920 , Elsie Y. Heung

Rising Above the Faithful: Monumental Ceiling Crosses in Byzantine Cappadocia , Alice Lynn McMichael

Visualizing Knowledge in the Illuminated Manuscripts of the Breviari d’amor , Joy Partridge

Lauretta Vinciarelli in Context: Transatlantic Dialogues in Architecture, Art, Pedagogy, and Theory, 1968-2007 , Rebecca Siefert

Prints on Display: Exhibitions of Etching and Engraving in England, 1770s-1858 , Nicole Simpson

Dissertations from 2017 2017

Open Works: Between the Programmed and the Free, Art in Italy 1962 to 1972 , Lindsay A. Caplan

I. M. Pei, William Zeckendorf, and the Architecture of Urban Renewal , Marci M. Clark

Posthumanist Animals in Art: France and Belgium, 1972-87 , Arnaud Gerspacher

On London Ground: The Landscape Paintings of Frank Auerbach and Leon Kossoff , Lee Hallman

Joseph Beuys and Social Sculpture in the United States , Cara M. Jordan

Claude III Audran: Ornemaniste of the Rococo Style , Barbara Laux

Exhibitions of Outsider Art Since 1947 , Christina McCollum

Mónica Mayer: Translocality and the Development of Feminist Art in Contemporary Mexico , Alberto McKelligan Hernandez

Merchandise, Promotion, and Accessibility: Keith Haring’s Pop Shop , Amy L. Raffel

Ludic Conceptualism: Art and Play in the Netherlands, 1959 to 1975 , Janna Therese Schoenberger

Communicationists and Un-Artists: Pedagogical Experiments in California, 1966-1974 , Hallie Rose Scott

Foreign-Born Artists Making “American” Pictures: The Immigrant Experience and the Art of the United States, 1819–1893 , Whitney Thompson

Left and Right: Politics and Images of Motherhood in Weimar Germany , Michelle L. Vangen

From Design to Completion: The Transformation of U.S. War Memorials on the National Mall , Sara Jane Weintraub

Dissertations from 2016 2016

Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 , Raffaele Bedarida

The Emergence of the Bird in Andean Paracas Art. c. 900 BCE - 200 CE , Mary B. Brown

The Moving Image in Public Art: U.S. and U.K., 1980–Present , Annie Dell'Aria

Modernism with a Human Face: Synthesis of Art and Architecture in Eastern Europe, 1954-1958 , Nikolaos Drosos

Building in Public: Critical Reconstruction and the Rebuilding of Berlin after 1990 , Naraelle Hohensee

The Bauhaus Wall Painting Workshop: Mural Painting to Wallpapering, Art to Product , Morgan Ridler

Provisional Capital: National and Urban Identity in the Architecture and Planning of Bonn, 1949-1979 , Samuel L. Sadow

Developing Italy: Photography and National Identity during the Risorgimento, 1839-1859 , Beth Saunders

The Photographic Universe: Vilém Flusser’s Theories of Photography, Media, and Digital Culture , Martha Schwendener

Finish Fetish: Art, Artists, and Alter Egos in Los Angeles of the 1960s , Monica Steinberg

Nature and Nostalgia in the Art of Mary Nimmo Moran (1842-1899) , Shannon Vittoria

Dissertations from 2015 2015

A Merchant-Banker's Ascent by Design: Bartolomeo Bettini's Cycle of Paintings by Michelangelo, Pontormo, and Bronzino for His Florentine Camera , Richard Aste

On the Fringe of Italian Fascism: An Examination of the Relationship between Vinicio Paladini and the Soviet Avant-Garde , Christina Brungardt

Let The Record Show: Mapping Queer Art and Activism in New York City, 1986-1995 , Tara Jean-Kelly Burk

Maude I. Kerns: Overlapping Interpretations of Art and Pedagogy in the Northwest and Along the Pacific Coast, 1890–1932 , Mary Helen Burnham

Contemporary Art and Internationalism at the Solomon R. Guggenheim Museum, 1952–1988 , Rachel Chatalbash

Los Grupos and the Art of Intervention in 1960s and 1970s Mexico , Arden Decker

The Hall of Fame for Great Americans: The Evolution of a Forgotten Memorial , Sheila Gerami

Mobilizing The Collective: Helhesten And The Danish Avant-Garde, 1934-1946 , Kerry Greaves

Death and Photography in East Asia: Funerary Use of Portrait Photography , Jeehey Kim

Native American Chic: The Marketing Of Native Americans In New York Between The World Wars , Emily Schuchardt Navratil

The Print Portfolio and the Bourgeoisie in Fin-de-Siècle Paris , Britany Lane Salsbury

A Light in the Darkness: Argentinian Photography During the Military Dictatorship (1976-1983) , Ana Tallone

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Dissertation Writing: Home

Dissertation writing.

• Illustrations

What is a dissertation? An extended essay exploring a specified research question or area of practice in depth. Although the word count can vary it is usually longer than most essays, between 5000 - 10000 words.

Your dissertation should demonstrate your ability to:

• Study independently;
• Plan and undertake an in-depth piece of research;
• Select and evaluate information;
• Develop a reasoned argument based on examples and evidence;
• Communicate your ideas and findings effectively.

Dissertation Webinars For further help see -  Library & Learning Webinars and Events  (see Recorded Webinars tab and Dissertations).

Developing your research Consider your overarching hypothesis and the argument you are going to construct. Be aware that these may change as your research deepens. Use tutor and peer feedback to develop your research.

Begin writing before you have completed your research, because the process of writing will help you clarify your ideas and inform your research.

Research methods To some extent, the topic you choose to investigate will be shaped by existing studies on related topics, so it is important to explore existing literature.

Once you have some awareness of what has already been written about, you need to select the texts, ideas and methods that are most relevant to your particular enquiry.

You may want to research people’s responses to a recent phenomenon, and there may not be very much written about your specific topic: in which case look at the ways that other people have investigated public opinion, find out more about primary research methods (e.g. writing and delivering surveys, interviews, carrying out focus groups and observations etc.)

However, many art subjects are continuations or variations of existing practices and disciplines, and a lot of research is based on evaluating existing texts, which is known as secondary research (e.g. texts written by another researcher).

See also: Finding Resources

See 'The Introduction' under the 'Writing' tab at: Essay Writing .

For longer pieces of writing, chapters serve to break up sections that have different, but related topics. Traditionally, dissertations included a literature review as the first chapter (after the introduction), and a methodology, but check your course requirements.

Chapters can be arranged into key themes, case studies, or they can follow the development of something, chronologically. How you organise them will depend on your topic, and what you want to emphasize. It is helpful for your reader if you explain how you have arranged your chapters in the introduction, so that they know what to expect.

See: Literature Reviews

A methodology is a theoretically-informed approach to the production of knowledge. It usually refers to a chapter or section of a chapter that explains how you went about finding and verifying information, and why you used the methods and processes that you decided to use.

Since research is about finding out more about a subject, methodologies are designed to aid the process, so a good starting point is deciding what you want to find out.

• Your research question (aim)
• What smaller questions (objectives) you think you may need to explore in order to answer your main research question (aim)
• What practical experiments/primary research/secondary research activities you think you will need to undertake to answer these questions (objectives)

You might want to write a list of what you are going to do. However, a methodology is more than simply the methods you intend to use to collect data. You need to include a consideration of the concepts and theories which underlie your chosen methods, and to state how you have addressed the research questions and/or hypotheses.

Every stage should be explained and justified with clear reasons for the choice of your particular methods and materials. Ideally, the methods should be described in enough detail for the study to be replicated, or at least repeated in a similar way in another situation. If your research is mainly secondary, then much of this will be covered in the literature review and you may choose to combine the two (a critical review).

Methods vary both within and between disciplines: talk to your supervisors and evaluate methodologies written by other researchers in your field.

Research Methods Research methods are frequently divided into two categories: primary and secondary research.

• Primary research includes interviews, surveys, observations and questionnaires – research where the student gathers first hand evidence.
• Secondary research is found in sources such as academic books and journals and is the usual route for the contextual and theory-based dissertation. Secondary research should be done before primary research is carried out, as this will inform the research design.

However, when you Google or search online for a guide to writing a methodology, you are commonly given a scientific methodology structure which emphasises the experiment and results. In an arts and humanities based subject, a methodology is not a systematic description of how you arrived at your conclusion or result. Rather, it could take a critical approach that is grounded in theory (perhaps social theory such as Marxism, Feminism, or Post-humanism, for example), and the use of literature to support this which may be applied to case studies or examples.

The choice of research methods depends on what you want to find out: the data or findings you need to support your discussion of your chosen research subject.

Research Findings Research findings, that is the information related to the topic you are investigating, falls roughly into two categories - quantitative (numbers and statistics) and qualitative (words, images, objects and meanings).

• Quantitative methods might include experiments, observations recorded as numbers, and surveys with closed-ended or multiple-choice questions. The findings are usually presented in tables, charts or percentages.
• Qualitative methods might include interviews with open-ended questions, observations described in words, and literature reviews that explore concepts, narratives and theories and is open to interpretation.
• It is important not to consider them to be mutually exclusive: for example, the process of designing an effective survey or questionnaire to gather quantitative data will probably include some qualitative research into different approaches and formats of questionnaires, and this will need to be underpinned by your own evaluation of what would be most effective.

Structure Have a short introduction which tells your reader the overall aim of the research. what methods and procedures have been used, with a rationale to explain how the approach is appropriate to the research questions and aim.

Establish links between the question and the method, e.g. if the question revolves around a feminist debate on the representation of women in advertising, then a survey of people's opinions on this would not be as valuable as academic texts that engage with these current debates at a theoretical level.

Describe the specific methods of data collection.

Establish your analytic framework (theoretical perspective) and interpretation of your findings.

Your conclusion should bring together the main themes, findings and overall point of your essay. In order to do this, it is a good idea to refer to both the assignment question and your introduction, so that your conclusion is consistent with them. For example, if you have looked at an argument weighing up the pros and cons of something, you should summarise why you lean towards one opinion above others, or explain why a variety of approaches are valid for different reasons. It is not necessary to state a definitive answer to your question, but you should bring together the key elements that you have investigated, so as to justify your stance.

See also 'The Conclusion' under the 'Writing' tab at Essay Writing .

Academic style Being able to express your ideas in formal English is a requirement for many written course assignments: it is also a valuable transferrable skill in terms of employability. Academic writing demonstrates your ability to present your ideas convincingly, with clarity accuracy and authority. Some good examples of academic phrases are available on the Manchester Academic Phrasebank .

General guidelines for academic style include:

• Use signposting words to introduce and link your ideas, and help your reader follow your ideas. For example, rather than ‘Picasso experimented with cubism’ use ‘Picasso’s experiments with cubism were significant because…’
• Use objective language (the third person, rather than the first): e.g. rather than 'I believe that it is difficult to say how much an artwork is worth…’ use 'It is often difficult to estimate the value of an artwork, for example...’
• Use accurate language and subject-specific terminology, e.g. Rather than stating ‘Media stereotypes women' be specific: ‘The film Showgirls (1995) has been criticised for representing the female characters as stereotypical and highly sexualised.’ or ‘in the 1960s’ rather than ‘In the old days…’ (try to avoid assumptions and generalisations: e.g. everyone uses facebook, everybody knows…)
• Avoid contractions: e.g. use ‘do not’, rather than ‘don’t’, or ‘cannot’ rather than ‘can’t’ (this affects word count as well)

None of these guidelines are always applicable – there may be times when it is appropriate to use first person (I) to refer to personal experiences and opinions, and there may be times when you want to assert strong opinions. As with any piece of writing it will depend on what you want to communicate. However, essays are usually assessed on the knowledge demonstrated by the writer and using accurate terminology and statements rather than questions present a more convincing argument than phrases used in spoken English, such as ‘I feel…’ or ‘in my opinion…’.

Using evidence Providing evidence to demonstrate that you have researched your topic, and are aware of other studies and opinions about it, is a distinctive feature of academic writing. You should refer to the ideas and findings of others to support your argument, but the main voice should be your own.

Do not use a quotation unless you make it clear to your reader why you are using it and how it relates to the overall discussion. By interpreting other people's work you can indicate the significance of their ideas to your own argument. By commenting on or evaluating the work of others you demonstrate your own understanding of the topic you are investigating and indicate how you position yourself in relation to existing scholarship.

Evidence could be a direct or paraphrased citation from a variety of different sources to support your argument. Academic writing should contain citations, but they should not constitute more than 25% of your word count.

For information about how to evidence and refence your work correctly, see Harvard Referencing .

Citations are used in the body of your writing to indicate when you have referred to someone else’s writing, work or ideas. Your citations provide some basic information about the sources you used, and link to your bibliography, which provides more detailed information about your sources and how you accessed them.;

• the author's surname
• the year of publication
• the page number (where applicable)

So, a UCA Harvard citation from a book or journal article would be formatted like this:  (Butler, 2006:8)

Direct citations need to include speech marks , for example:

"whatever biological intractability sex appears to have, gender is culturally constructed" (Butler, 2006:8)

To integrate quotations within your paragraphs, you may want to introduce the author before quoting them, for example:

The architect Daniel Libeskind (1997:153) argues that “in representing the making of architecture as an autonomous activity (having more affinity to technique than science) this thinking intentionally narrows itself to a process of date collecting operations.

Indirect citations are paraphrased in your own words, and can be used to summarise and integrate others' ideas into your writing. Paraphrasing is more complex than changing the occasional word, you must convey the author’s original meaning.

For example, here is a direct quotation:  “Of course, if women could subvert so-called masculine traits by adapting and adopting masculine fashions, then it was also possible for men to procure feminine styles for themslves, and, as the century progressed, the cries of ‘gender confusion’ by media and academic commentators became increasingly loud” (Arnold, 2001:101)

This direct quotation could be paraphrased like this:  Increasing discourse surrounding gender emerged as the traditional distinctions between male and female fashion became blurred (Arnold, 2001:101).

Or, like this: Traditional notions of gender were challenged by women wearing fashions usually intended for men and men wearing fashions usually intended for women (Arnold, 2001:101).

Note: As shown in the examples above, Indirect citations do NOT need to include speech marks.

For more information of formatting citations, see Harvard Referencing .

Using illustrations Illustrations are another form of evidence, and should be used as support for:

• Comparison;
• Deconstruction;
• Interpretation;
• Extrapolation.

Each image should have its own figure number and the numbers are allocated by order of appearance. The first image in your written work will be Figure 1, the second will be Figure 2, followed by Figure 3, Figure 4 and so on. If the image you are using is a named work of art, you should include the name of the artist, the tile, the year of production (in round brackets), the medium [in square brackets] and its dimensions in the caption. For an example, see below.

If your image does not have a name, your caption should simply describe what the image is. The caption, like all titles in the Harvard refencing system, must be in italics.  The year of publication, medium [in square brackets] and year (in round brackets).

For more information on formatting images, captions and your list of illustrations in Word documents see Microsoft Help on Inserting Pictures and Harvard Referencing .

Formatting your work Check the criteria for layout and contents recommended by your course. This may be in the handbook or the dissertation briefing documents.

General presentation: Dissertations should be word-processed and their overall presentation and layout should be reader-friendly.

• Number your pages;
• Set it out on A4 paper;
• Use 1.5 or double-line spacing;
• Use a readable font (e.g. Times New Roman or Arial);
• Use at least a 12 point font.
• The front cover/title page;
• The full title;
• Your full name;
• The qualification/course you are studying;
• The name of the Institution (UCA);
• Year of submission;
• Name of your tutor/assessor;
• Word count.
• The introduction;
• Titles of chapters;
• The conclusion;
• List of illustrations;
• Bibliography;
• Appendices.

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Tomsk Oblast, Russia

The capital city of Tomsk oblast: Tomsk .

Tomsk Oblast - Overview

Tomsk Oblast is a federal subject of Russia located in the southeast of the West Siberian Plain, part of the Siberian Federal District. Tomsk is the capital city of the region.

The population of Tomsk Oblast is about 1,068,300 (2022), the area - 314,391 sq. km.

Tomsk oblast flag

Tomsk oblast coat of arms.

Tomsk oblast map, Russia

Tomsk oblast latest news and posts from our blog:.

10 November, 2019 / Tomsk - the view from above .

History of Tomsk Oblast

The development of this region began in the late 16th - early 17th centuries. The oldest settlement in the Tomsk region is the village of Narym, founded in 1596.

The town of Tomsk was founded as a military fortress by the decree of Tsar Boris Godunov in 1604. It was one of the outposts of the development of Siberia.

From 1708 to 1782, Tomsk was part of the Siberian province. In 1804, the town became the center of a separate Tomsk province, which included the current territories of the Altai krai, Novosibirsk, Kemerovo, East Kazakhstan, Tomsk regions and part of Krasnoyarsk krai.

In the 19th century, the growth of gold mining, smelting of metals, fur trade concentrated large capital in Tomsk, triggering a revival of trade. Important transport routes - the Moscow and Irkutsk tracts - passed through Tomsk.

In 1888, the first university beyond the Urals was opened in Tomsk, in 1900 - the Technological Institute, in 1901 - the first commercial school in Siberia, in 1902 - the Teachers’ Institute. By 1914, Tomsk was one of the 20 largest cities in the Russian Empire.

In 1925, the Tomsk Governorate was abolished and became part of the Siberian region. In the 1930s, Tomsk lost its administrative significance. In August 1944, the city became again a regional center.

During the Second World War, dozens of factories, educational, scientific, and cultural institutions were evacuated to Tomsk oblast and became the basis for the further development of the region in the postwar years.

In the 1950s, the first in the USSR nuclear center of the world level was created in Tomsk Oblast - the Siberian Chemical Combine. In the 1960s-1970s, oil production began on the territory of the region, a giant petrochemical plant was built - the Tomsk Petrochemical Combine.

Nature of Tomsk Oblast

Small lake in Tomsk Oblast

Author: Andrey Gaiduk

Beautiful nature of the Tomsk region

Author: Sergey Timofeev

Tomsk Oblast scenery

Author: Egor Dyukarev

Tomsk Oblast - Features

The length of the Tomsk region from north to south is about 600 km, from west to east - 780 km. Most of the territory is difficult to access because of taiga forests occupying about 60% of the region and marshes (28.9%). The Vasyugan swamp is one of the largest marshes in the world.

The climatic conditions of the southern and northern districts of the Tomsk region are markedly different. Almost the entire territory of the region is located within the taiga zone. The climate is temperate continental. The average temperature in July is plus 24 degrees Celsius, in January - minus 16 degrees Celsius. The climate in the northern part of the region is more severe, winters are longer.

The largest cities and towns of Tomsk Oblast are Tomsk (570,800), Seversk (105,200), Strezhevoy (38,900), Asino (24,400), Kolpashevo (22,200). Lake Mirnoye located in Parabelsky district is the largest lake. The main river, the Ob, crosses the region diagonally from the southeast to the northwest, dividing it into two almost equal parts.

The main industries are oil and gas, chemical and petrochemical, engineering, nuclear, electric power, timber industry, and food industry. All the machine-building and metal-working plants are located mainly in Tomsk and partly in Kolpashevo and Seversk. Oil is extracted mainly in the north-west and west of the region.

The main branches of agriculture are meat and dairy cattle breeding. Agricultural fields occupy about 5% of the territory. Wheat, flax and vegetables are grown in small amounts. Cattle-, pig-, sheep-, and goat-breeding are presented as well as poultry farming. Fur trade (squirrels, sables, musk-rats) and fur farming (silver-black fox) are also developed.

Tomsk Oblast - Natural Resources

Tomsk Oblast is rich in such natural resources as oil, natural gas, ferrous and non-ferrous metals, brown coal (the first place in Russia), peat (the second place in Russia), and groundwater. In the region there is the Bakcharskoe iron ore deposit, which is one of the largest in the world (about 57% of all iron ore in Russia).

Forests are one of the most significant assets of the region: about 20% (more than 26.7 million hectares) of forest resources in Western Siberia are located in Tomsk oblast. The timber reserves amount to 2.8 billion cubic meters.

In the Tomsk region there are 18.1 thousand rivers, streams and other watercourses with a total length of about 95 thousand km, including 1,620 rivers with a length of more than 10 km.

The main waterway is the Ob River. The Ob length in the region is 1,065 km. The main tributaries of the Ob flowing into it on the territory of the Tomsk region are the Tom, Chulym, Chaya, Ket, Parabel, Vasyugan, Tym.

Attractions of Tomsk Oblast

The sights of Tomsk Oblast include the harsh beauty of Siberian nature, the variety of winding rivers and canals, as well as monuments of wooden architecture, and other places that keep ancient legends about this land.

Undoubtedly, it is worth to visit Lake Kirek, one of the most beautiful reservoirs of the Tomsk region. It is located only 50 km from Tomsk. According to legend, a local millionaire drowned his diamonds here during the revolution in 1917.

About 40 km from Tomsk, there is a lake complex of the village of Samus consisting of seven lakes. These lakes are known for their very dark water, which is explained by the streams flowing into them from peat bogs.

Near the village of Kolarovo, located 33 km south of Tomsk, there is Siniy (Blue) cliff. It is a three-kilometer precipice descending to the Tom River. The cliff got its name due to the gray-blue shale that covers it. Several centuries ago, after the founding of Tomsk, a watchtower was installed on the cliff, from which signals were sent to the fortress.

At the source of the Berezovaya River, 40 km southeast of Tomsk, there is such an attraction as the Talovsky bowls, a natural monument of national importance. These are huge natural figures in the form of vessels of oval form, covered from the inside by birnessite - a rare mineral.

There is a tourist attraction of a global scale in the Tomsk region - the Vasyugan marshes, the largest marsh complex in the world. It is also called the “Russian Amazon”, because the Vasyugan marshes are not inferior to the famous South American river by their scale.

To the collection of sights of Alexandrovsky district of the Tomsk region, the most distant from the regional center, we can add Lake Baikal, the namesake of the famous lake, Goluboye (Blue) Lake, Malyye mountains (highlands) in the valley of the Vakh River and the Paninsky reserve, where the ancient burials of the Khanty and Ostyaks are preserved.

On the right bank of the Ob River, more than 200 km from Tomsk, the village of Mogochino is located. St. Nicholas Convent can be found here.

In Tomsk itself, plenty of monuments of wooden architecture deserve attention. In total, there are more than 700 objects, including 109 monuments of federal and regional significance.

Also in the Tomsk region you can visit more than 100 museums (most of them are located in Tomsk). The most popular museums are the Museum of History of Tomsk, the Memorial Museum “The NKVD Investigative Prison”, the Museum of Wooden Architecture, the Tomsk Regional Art Museum.

Tomsk oblast of Russia photos

Pictures of the tomsk region.

Abandoned village in Tomsk Oblast

Author: Sergei Loyko

Orthodox chapel in the Tomsk region

Winter in Tomsk Oblast

Author: Koshkin V.

Field road in Tomsk Oblast

Author: Dolgin Andrey

Country life in Tomsk Oblast

Author: D.Lebedev

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Tomsk: Cultural treasure of central Siberia

Tomsk. Church of the Resurrection on Resurrection Hill. East view. September 24, 1999

At the beginning of the 20th century the Russian chemist and photographer Sergey Prokudin-Gorsky developed a complex process for vivid color photography. His vision of photography as a form of education and enlightenment was demonstrated with special clarity through his images of architectural monuments in the historic sites throughout the Russian heartland.

In June 1912, Prokudin-Gorsky ventured into Western Siberia as part of a commission to document the Kama-Tobolsk Waterway, a link between the European and Asian sides of the Ural Mountains. The town of  Tyumen  served as his starting point for productive journeys that included Shadrinsk (current population 68,000), established in 1662 on the Iset River. By the time of Prokudin-Gorsky’s visit, the town already had several enterprises, including a ceramics factory, and a population of some 15,000. 

Prokudin-Gorsky’s photographs of Shadrinsk include the rapid construction of pine log buildings for a railroad station complex – part of a secondary rail line built in 1911-1913. The partially completed buildings show an efficient use of standardized design, with measured log stacks in the foreground. Tall, spindly pine trees complete the picture.

Shadrinsk. Construction of standardized log buildings for a railroad station complex. Summer 1912

In a broader context, these photographs reflect the expansion of Russia’s rail system from Yekaterinburg to the Far East. Although Prokudin-Gorsky did not reach Tomsk (in central Siberia), I visited there in the late Summer of 1999 and saw the extensive use of log structures in an urban environment.

Tomsk beginnings

Tomsk. Church of Kazan Icon of the Virgin at Virgin-St. Aleksy Monastery, south view. Built in 1776-89; bell tower added in 1806. September 26, 1999

Archeological evidence suggests that Tomsk Region, part of the vast Ob River basin in central Siberia, has been settled for at least four millennia.

Epiphany Cathedral, southeast view. Built in 1777-84; expanded in 19th century; severely deformed in Soviet period for use as factory. This historic photograph shows the process of restoration, completed in 2002. September 25, 1999

By the time detachments of Russian Cossacks arrived in 1598, the native inhabitants included the Khants and Siberian Tatars, who, in 1603, accepted the authority of Tsar Boris Godunov.

In 1604, a fort was founded on the banks of the River Tom (a tributary of the Ob) and, throughout the 17th century, the Tomsk settlement served as a bulwark against the Kalmyk and Kirghiz steppe tribes.  

Church of the Resurrection on Resurrection Hill, north view. Built in 1789-1807; excellent example of "Siberian Baroque" architecture. September 26, 1999

With the expansion of Russian control to the south during the 18th century, the military significance of Tomsk was replaced by trade and transportation, centered on caravans of tea from China.

Former Stock Exchange Building, begun in 1825. September 25, 1999

The expansion of the Moscow Road through Siberia in the middle of the 18th century provided further stimulus for growth that was reflected in the construction of large brick churches, such as the Epiphany Cathedral (first completed in 1784) and the Church of the Resurrection (1789), a masterpiece of Siberian baroque architecture.             

Alexander Vtorov & Sons Building, Lenin Prospect 111. Built in 1903-05 as a department store & hotel; a major example of Art Nouveau architecture in Siberia. September 24, 1999

During the 1830s, the development of gold mines in the territory greatly increased the town's significance as a center of mining operations and administration. Tomsk Region also continued to serve as a place of political exile, as it had in the 17th and 18th centuries.             

‘Diverted’ opportunities

N. S. Zaslavsky "Fashionable Store," Lenin Prospect 105. Built in 1898-99; example of "Brick Style" commercial architecture. September 24, 1999

During the construction of the Trans-Siberian Railway at the end of the 19th century, Tomsk missed a second golden opportunity when the Ministry of Transportation decided to place the railroad crossing over the Ob’ River to the south. There are conflicting explanations for this decision, which slighted Tomsk, but created the town of Novonikolaevsk, subsequently to become the major Siberian metropolis of Novosibirsk.

Former building of the Flour Exchange, Lenin Square 14. Built in 1906-08; an example of Art Nouveau architecture. September 25, 1999

Tomsk settled for a branch line constructed in 1896 through the small junction of Taiga (80 kilometers south of the city) and that spur enabled Tomsk to remain a center of trade and agricultural development in central Siberia.             

Commercial building of A. V. Shvetsov, steamboat magnate. Built in 1882 in the "Pseudo-Russian" style (based on late medieval Russian architecture). September 25, 1999

The impressive scale of its commercial and residential architecture illustrates the diversity of Siberian culture at the turn of the 20th century. The Vtorov firm built one of Siberia’s largest department stores, which still graces Tomsk’s central district. Tomsk also became one of Siberia's preeminent educational centers, the location of Siberia's first university, founded in 1878. Among Russian institutions of higher learning, Tomsk State University is distinguished not only by its academic luster but also by its attractive, spacious campus.             

Main Building of Tomsk University. Built in 1885 in a late Neoclassical style. September 27, 1999

It should be emphasized that Tomsk accepted religious faiths in addition to Russian Orthodoxy. By 1910, the city had a Catholic Church of the Holy Rosary (now restored for use), two mosques (both of which have been restored), a Lutheran church (rebuilt), an Old Believer Orthodox church and a large synagogue that is among the most beautiful in Russia. The dome over its entrance has now been reconstructed.

Catholic Church of the Rosary of the Blessed Virgin. Consecrated in 1833 for the community of Polish exiles. Bell tower added in 1856. September 26, 1999

Architectural heritage

In 1911, the city’s northern area gained the neo-Byzantine Cathedral of Sts. Peter and Paul, the only church to remain open for most of the Soviet era. Some of the churches were built of wood, such as the Old Believer Church of the Dormition, completed in 1913 and lovingly maintained today by the parish. I was particularly honored to be asked to photograph Metropolitan Alimpy (Gusev; 1929-2003), who was visiting Tomsk at the same time.             

Choral Synagogue, Rosa Luxemburg Street 38. Built in 1902 to replace a wooden synagogue built in 1850. View before restoration of dome above main entrance. September 25, 1999

The most distinctive part of the city’s architectural heritage is displayed in its neighborhoods of elaborately decorated wooden houses, structures of solid logs often covered with plank siding.

Cathedral of Sts. Peter & Paul, southeast view. Built in 1909-11 in Neo-Byzantine style. September 24, 1999

It is no exaggeration to say that the "lacework" of Tomsk's wooden architectural ornament – particularly the window surrounds, or nalichniki – is unrivaled in Russia for its lavish detail and the extent of its preservation. Many of these extraordinary wooden houses were built for merchants who lived in the Tatar Quarter.  

Old Believer Church of the Dormition, southwest view. Wooden structure built in 1909-13 for the Old Believer Orthodox community in Tomsk region. September 27, 1999

The Tatar Quarter also contains the renovated White Mosque and a cultural center, located in a mansion built at the beginning of the 20th century for Karym Khamitov, a Tatar financial magnate.  Other ethnic groups include Russian  Germans, composed of settlers who moved to the area beginning in the 19th century. One of them was Viktor Kress, the governor of Tomsk Region in 1991-2012. 

Old Believer Church of the Dormition. Historic photograph of Metropolitan Alimpy (Gusev), spiritual leader of Russian Orthodox Old Believer Church. Photograph taken with the blessing of the prelate, who is standing in front of icon screen. September 27, 1999

Decline & rebirth

The many positive trends in the region’s development during the early 20th century were crushed by the savage fighting of the Civil War between 1918-1921. After that conflict, Tomsk entered a decline that was reversed by the evacuation to the city of industrial and research facilities during World War II.

Wooden house, Belinsky Street 19. Excellent example of "Carpenter Gothic" style. September 24, 1999

This momentum, reinforced by strong institutions of higher education in Tomsk, continued after the war with the development of nuclear research installations for both military and energy purposes.             

Wooden house built by architect Andrey Kryachkov. Fine example of Art Nouveau architecture in wood. September 26, 1999

With over a half a million inhabitants and a regional population of almost a million, Tomsk remains a leading Siberian center for administration, education, industry and energy resources.

Wooden house & courtyard gate, Tatar Street 46. One of many distinctive wooden houses built in the district of Tatar merchants. September 26, 1999

Protecting the environment has been a major concern, particularly in an area of stunning natural beauty. 

White Mosque, built in Tatar District in 1912-16. September 26, 1999

At the same time, dedication to the city’s historical environment – including its houses of worship – has succeeded in preserving an architectural legacy that represents a Russian national treasure.

House of merchant Karym Khamitov, built in Tatar District in 1894. Under conversion into cultural center for Tatar community of Tomsk region. September 25, 1999

Indeed, a walk through the historic neighborhoods of Tomsk reminds just how much Russian culture belongs to the forest.  

Ornamental wooden gate leading to courtyard of house on Solyanoi Lane 18. September 26, 1999

In the early 20th century, Russian photographer Sergey Prokudin-Gorsky developed a complex process for color photography. Between 1903 and 1916, he traveled through the Russian Empire and took over 2,000 photographs with the process, which involved three exposures on a glass plate. In August 1918, he left Russia and ultimately resettled in France, where he was reunited with a large part of his collection of glass negatives, as well as 13 albums of contact prints. After his death in Paris in 1944, his heirs sold the collection to the Library of Congress. In the early 21st century, the Library digitized the Prokudin-Gorsky Collection and made it freely available to the global public. A few Russian websites now have versions of the collection. In 1986, architectural historian and photographer William Brumfield organized the first exhibit of Prokudin-Gorsky photographs at the Library of Congress. Over a period of work in Russia beginning in 1970, Brumfield has photographed most of the sites visited by Prokudin-Gorsky. This series of articles juxtaposes Prokudin-Gorsky’s views of architectural monuments with photographs taken by Brumfield decades later.

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