Athanor 33

Athanor XXXIII (2015)

Katie Townsend
Eliciting Liturgical Participation: The Southwest Vestibule Mosaic in Hagia Sophia

Jennifer Clary
Evidence of Animistic Practice at Casa Grandes: Marine Shell and the Walk-in Well

Alexandra Challenger
Constructing Cosmography: The Printed Image as a Visual Tool in Peter Apian’s Cosmographicus Liber

Jeffrey Fraiman
The Oratorians’ Icon: The Madonna Vallicelliana in Post-Tridentine Rome

Michele L. Frederick
Imitatio and Aemulatio: Reevaluating Aert de Gelder’s Self-Portrait as Zeuxis

Maura Gleeson
Fashionable Modernity: Agency and Spectacle in James Tissot’s Portrait of the Marquise de Miramon

Natalia Angeles Vieyra
Illuminating Addiction: Morphinomania in Fin de Siecle Visual Culture

Margarita Karasoulas
Visual Irony and Racial Humor in Winslow Homer’s The Watermelon Boys

Ranelle Knight-Lueth
The Battle Lines Were Drawn: The US Army’s Struggle to Publish World War I Combat Art

Jennifer Camp
Silent Struggles: The Graphic Radicalism of the Woodcut Novel

Caroline M. Riley
American Vernacular Art in 1938 Paris: Its Categorization and Reception at MoMA’s Three Centuries of American Art Exhibition

Christina Morandi
The Representation of Soviet Urbanscape as Alienation and Loneliness in Estonian Hyperrealist Paintings of the 1970’s