http://www.inquiriesjournal.com/keyword/art-history Inquiries Journal provides undergraduate and graduate students around the world a platform for the wide dissemination of academic work over a range of core disciplines. en-us Tue, 14 Apr 2026 00:23:16 -0400 Tue, 14 Apr 2026 00:23:16 -0400 http://www.inquiriesjournal.com/articles/1948/fragile-aesthetics-the-problematics-behind-thomas-gainsboroughs-landscape-paintings By Connor E. Yen - The 17th and 18th centuries saw a wide proliferation of aesthetic discourse through which the picturesque emerged to capture the type of beauty derived from the exchange of in vivo vigor for the spirit of artistic medium. While the metaphysical project of 18th century aesthetic theory masquerades as apolitical, placing Thomas Gainsborough’s landscape paintings in dialogue with picturesque beauty reveals an underlying anxiety of peasant encroachment and class conflict. This paper parses the complex interplay between the “smooth” and the “rough” in Gainsborough&rsquo... Fri, 01 Apr 2022 01:04 EDT http://www.inquiriesjournal.com/articles/1948/fragile-aesthetics-the-problematics-behind-thomas-gainsboroughs-landscape-paintings http://www.inquiriesjournal.com/articles/1923/medusas-blood-on-the-ovidian-assertion-of-fame-in-cellinis-perseus By Hannibal De Pencier - Cast in one piece of bronze in 1554, Benvenuto Cellini'sPerseus with the Head of Medusa representeda monumental feat of artisticvirtuosity. Viewers marvelled at the imposing size of the bronze, the sense of liquid tactility in the blood pouring from either end of Medusa's neck, and—most importantly to Cellini himself—they marvelled at the artist's skill. Ostensibly meant to allude to the political mastery of Grand Duke Cosimo I de Medici, the sculpture's Ovidian iconographic program is demonstrably concerned with aggrandizing Cellini's generative power and asserting the artist... Tue, 30 Nov 2021 09:27 EST http://www.inquiriesjournal.com/articles/1923/medusas-blood-on-the-ovidian-assertion-of-fame-in-cellinis-perseus http://www.inquiriesjournal.com/articles/881/passing-time-in-the-garden-of-earthly-delights-by-hieronymus-bosch By Brittany R. O'Dowd - In one of his most famous triptychs, the Garden of Earthly Delights, Hieronymus Bosch uses a linear and chronological order to represent a gradual fall of man into sin. In a world where ‘bad’ has existed in small amounts since the creation of the world, man grows to indulge in earthly delights and physical pleasures, which over time leads to his eternal suffering and the loss of control over that which he once ruled. While many other great triptychs of the fifteenth century utilize the three separate panels and the outside image as just that – three or four separate images united... Mon, 31 Mar 2014 12:12 EDT http://www.inquiriesjournal.com/articles/881/passing-time-in-the-garden-of-earthly-delights-by-hieronymus-bosch http://www.inquiriesjournal.com/articles/378/byzantine-and-russian-influences-in-andrei-rublevs-art By Iulia O. Basu-Zharku - Andrei Rublev (c. 1360-1430) is a mysterious figure, whose biography is not well known, although he is historically considered the best-known painter of Russian icons and frescoes. Early in his life he joined the Trinity-Sergei Lavra Monastery, becoming the pupil of Prokhor of Gorodets before moving to Andronikov Monastery, near Moscow, where he also died.[1] In 1405, along with Prokhor of Gorodets, Rublev worked with Theophanes the Greek at the frescoes of the Annunciation Cathedral in the Moscow Kremlin, and some of these, namely the Annunciation, Nativity, Baptism of Christ, Transfiguration... Tue, 01 Feb 2011 09:24 EST http://www.inquiriesjournal.com/articles/378/byzantine-and-russian-influences-in-andrei-rublevs-art http://www.inquiriesjournal.com/articles/210/every-place-in-the-world-on-the-same-level-examining-the-display-of-non-western-art-at-the-musee-du-quai-branly By Taylor L. Poulin - The Musée du Quai Branly opened under the long shadow of the Eiffel Tower in 2006 to spectacular criticism. Initiated primarily at the behest of then-President Jacques Chirac (b. 1932, held office from 1995-2007), the museum possesses an eclectic family tree, a complex history, and a controversial curatorial practice. Built to house the majority of France’s comprehensive collection of non-Western art, the museum stemmed not only from Chirac’s deep interest in non-Western art,[1] but has origins in two previously established museums and gallery spaces devoted as well to non-Western... Mon, 22 Mar 2010 09:05 EDT http://www.inquiriesjournal.com/articles/210/every-place-in-the-world-on-the-same-level-examining-the-display-of-non-western-art-at-the-musee-du-quai-branly http://www.inquiriesjournal.com/articles/177/an-oasis-in-the-desert-issues-and-intricacies-concerning-the-louvre-abu-dhabi-museum-expansion By Taylor L. Poulin - This statement was penned in 1793 by Comte François Antoine de Boissy d’Anglas to the museum commission in charge of filling the newly created Musée Central des Arts in Paris – the future Musée du Louvre. At the time it was terribly confident, but has become a quite accurate description of the museum. The Louvre does indeed contain objects from all over the world and from all stretches of time. Symbolically, it holds great cultural significance for the French, and, as supported by its very long history, owns a seminal position in representing the French national... Mon, 22 Feb 2010 09:07 EST http://www.inquiriesjournal.com/articles/177/an-oasis-in-the-desert-issues-and-intricacies-concerning-the-louvre-abu-dhabi-museum-expansion