Dissertations / Theses on the topic 'Crucifixion in art'
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Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phh285.pdf.
Horvath, Jennifer. "Resistance, Resurrection, Liberation: Beyond the Existing Readings of Marc Chagall's Crucifixion Paintings." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427980680.
Anderson, Keith Edward. "An investigation of the theological questions raised by twentieth-century works of art which make use of the iconography of the crucifixion." Thesis, Oxford Brookes University, 2014. https://radar.brookes.ac.uk/radar/items/8e78f44e-8d37-4f6a-a078-75318d1b3a4a/1.
Thoury, Corinne de. "Le couteau et la croix, émergence du paradoxe : esthétique et poi͏̈étique du sacrifice dans l'art à travers les figures d'Isaac et du Christ." Paris 3, 2001. http://www.theses.fr/2001PA030163.
The two great biblical sacrifices give rise to a number of inconsistencies, which are difficulties to define an interpretation. Isaac, son of the Holy Promise, risks death by a test sent by God himself ; Christ, becomes flesh, dies subjected to a punishment reserved for criminals and slaves by the state. From an artistic point of view, Crucifixion and Isaac on the altar display a polymorphy, illustration of the complexity of the faces linked to the sacrifice and raise the question of the different ways to picture the body. This question penetrates the theological debate of the first centuries of our era and the answer was the proclamation of the Incarnation dogma, founded on a paradox. .
Rehlinger, Geneviève. "Jésus le Christ dans l'oeuvre de Marc Chagall : le motif du crucifié." Metz, 2006. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2006/Schmitt_Rehlinger.Genevieve.LMZ0607_1_2.pdf.
To determine the place of Jesus the Christ in the works of Chagall, we rely on a corpus of 365 artistic works with the motif of Christ crucified and different literary documents (such as letters, biography and poems). Among other things we refer to the different fields of the history of Art, Judaism (Shoah), and Christianity as well as the biblical exegesis. The first part specifies the critical and interpretative readings being influenced by the cultural and religious belonging of their author. The second part explores the different influences received by the artist from the cultural, artistic, ethnic, religious and historical point of view. It particularly focuses on the divergences between the Christian and Jewish communities concerning Jesus Christ. The third part puts forward the remarkable place of the motif of Christ crucified takes in an artist born of Judaism. It asks the question of the use of a Christian motif by a Jew. The fourth part introduces the place of the motif in the artist works, a place which is unknown, under-evaluated, and contested. A study of the topics and associated motives under the categories of “grotesque”, “report” and “deport” introduces the viewer to the path of a painter who discovers, appropriates and transcends a motif in Christian art. Consequently, the careful retrospective reading of the motif emphasizes the polysemic and pluri-religious side of the design which definitively makes a visionary of Chagall
Walker, Ashely Wilemon. "The Thirteenth-Century Fresco Decoration of Santa Maria Ad Cryptas in Fossa, Italy." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/52.
Smith, Tamytha Cameron. "Personal Passions and Carthusian Influences Evident in Rogier Van Der Weyden's Crucified Christ between the Virgin and Saint John and Diptych of the Crucifixion." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5245/.
Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.
Ogden, Jenna Noelle. "The Leprous Christ and the Christ-like Leper: The Leprous Body as an Intermediary to the Body of Christ in Late Medieval Art and Society." Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1305075738.
Balicka-Witakowska, Ewa. "La crucifixion sans crucifié dans l'art éthiopien : recherches sur la survie de l'iconographie chrétienne de l'Antiquité tardive /." Warszawa ; Wiesbaden : ZAŚ PAN, 1997. http://catalogue.bnf.fr/ark:/12148/cb39219741v.
Ewin, Kristan Foust. "The Argei: Sex, War, and Crucifixion in Rome and the Ancient Near East." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115076/.
Foust, Kristan Ewin. "Exposing the Spectacular Body: The Wheel, Hanging, Impaling, Placarding, and Crucifixion in the Ancient World." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062805/.
Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems / Felicity Harley." Thesis, 2001. http://hdl.handle.net/2440/21742.
v, 316 leaves., 17 p. of plates : ill. (some col.) ; 30 cm.
A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.
Thesis (Ph.D.)--University of Adelaide, Centre for European Studies and General Linguistics, 2001
Béland, Caroline. "Les représentations chrétiennes et la culture juive dans l'art pictural moderne : le cas de Marc Chagall." Thèse, 2011. http://hdl.handle.net/1866/5267.
Marc Chagall is a Jewish artist who challenged the Mosaic interdiction to represent the deity. He has among others in the modern period made several paintings on the theme of the Crucifixion, a particularly sensitive issue for an artist attached to his Jewish identity and practising an art with a strong autobiographical component. This dissertation examines the conditions which allowed the adoption and the development, by Chagall, of an important Christian subject whose iconography he freely revisited. Among the circumstances that facilitated the cultural hybridization in which Chagall engaged in his Crucifixion, we must point out the new freedom, both at the level of figurative devices and pictorial treatment, brought by modernism in the approach of major traditional genres to which religious painting belongs. On a quite different register, the dissertation examines the exceptional historic circumstances met by Chagall before and during the execution of the Crucifixions. These circumstances have exerted pressure that allowed the tragic experience of the Jews of the XXth century to find expression in images of universal significance.
Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
Trojanová, Martina. "Kříž zv. královny Dagmar." Doctoral thesis, 2021. http://www.nusl.cz/ntk/nusl-447989.