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CANVAS Posts

“PRONKSTILLEVEN”: PRIORITIZING VISUAL EXERCISE IN A WORLD OF VANITAS

Written by Tiffany Dai; edited by Gabby Marcuzzi Herie
In the mercantilist and early capitalist socio-economic climate of the Dutch Republic,[i]the still life genre emerged as a repository for a dense iconography of moralistic sentiments that appeared in response to the seventeenth-century visual and material culture of commodity.

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Divergence & Fragmentation: Contemporary Indigenous Art in the Mapped “Global” World

Written by Hannah Deskin Edited by Josephine Spalla In the art world, the global contemporary moment is characterized by a polarizing duality that scholars, artists,…

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The Affective Weight of Representing Sex Workers in the Context of Modernity: Toulouse Lautrec, Humor, Shock, and La Rue Moulins

Written by Brianne Chapelle, Edited by Miray Eroglu
Beheld retrospectively by the modern viewer, Lautrec’s representations of the can-can dancers, cabaret singers, and sex workers of Montmartre have been lifted into the “high art” realm. While his works now enjoy this elevated status in world class museum collections, they did not necessarily achieve this status in Lautrec’s lifetime, nor were they perhaps intended to do so.

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Public Displays of Mastery: Judith Leyster and Dutch Women Artists of the Seventeenth Century

Written by Sophie Panzer Edited by Lucia Bell-Epstein Dutch genre paintings from the seventeenth century often portray women confined to the domestic sphere, idealizing their roles…

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Victim or Monster? Unreliable Narrator as Manipulator of Viewers’ Judgments on Legal Punishment

Written by Riley McKeown Edited by Lucia Bell-Epstein Humans respond physiologically to significant emotional events; for example, we may sweat when anxious or nervous, turn…

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The Reflection of Age and Beauty in Titian’s Late Style

Written by Huong Vu, Edited by Miray Eroglu.
Titian was one of the most important painters and renowned portraitists of the Renaissance, the age of cultural and artistic ‘rebirth’ in Europe. Titian’s two paintings: Portrait of a Man in a Red Cap (1516) and Portrait of Pietro Aretino (1537) are displayed on each side of Giovanni Bellini’s The Ecstasy of St. Francis (1475–1480) at The Frick Collection in New York City. This arrangement that juxtaposes youth and maturity demonstrates Titian’s stylistic development throughout his long reign over the Venetian school of painting in the sixteenth century.

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