{"id":302,"date":"2010-12-23T11:54:47","date_gmt":"2010-12-23T16:54:47","guid":{"rendered":"https:\/\/www.bu.edu\/haa\/?page_id=302"},"modified":"2026-05-07T16:51:17","modified_gmt":"2026-05-07T20:51:17","slug":"dissertations","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/haa\/academics\/graduate-program\/dissertations\/","title":{"rendered":"Dissertations"},"content":{"rendered":"

In Progress<\/h3>\n
\n
\n

Joshua Basseches<\/strong><\/a>
\n\u201cThe \u2018American School\u2019 at the International Expositions of the Late Nineteenth Century\u201c
\nFirst Reader:\u00a0Hills<\/a><\/a><\/p>\n

\n

Ren\u00e9e Brown<\/a>
\n<\/strong>“Eye to Eye: Paul Vanderbilt and the Ordering of Photographic Knowledge, 1940-1970”
\nFirst Reader:\u00a0Sichel<\/a><\/p>\n

\n

Isabella Dobson<\/strong><\/a>
\n“Laboring Women: Picturing Female Care Workers in Italian Renaissance Childbirth Contexts”
\nFirst Reader: Cranston<\/a><\/p>\n

\n

Colleen Foran<\/strong><\/a>
\n“At the Intersection of Ritual, Procession, and Performance Art: Chale Wote Street Art Festival in Ga Mashie, Accra, Ghana”
\nFirst Reader: Becker<\/a><\/a><\/a><\/a><\/p>\n

\n

Hannah Jew<\/a><\/strong>
\n“The Best Piece of Furniture: Picturing Care Work and Care in the Seventeenth Century Dutch Republic”
\nFirst Reader: Zell<\/a><\/p>\n

\n

Sybil F. Joslyn<\/strong><\/strong><\/a>
\n“Worth its Salt: Salvage in the Maritime Visual and Material Culture of America\u2019s Long Nineteenth Century”
\nFirst Reader:\u00a0Moore<\/a><\/p>\n

\n

Defne Kirmizi<\/a>
\n<\/strong>“Building Artistic Autonomy in Turkey: Conceptual Strategies and Group Exhibitions between 1974 and 1994.”
\nFirst Reader: Williams<\/a><\/a><\/a><\/a><\/a><\/p>\n

\n

Ana Mar\u00eda S\u00e1nchez Lesmes<\/a>
\n<\/strong>\u201cThe Emergence of Professional Art Curatorship in Colombia in the 1970s and 1980s\u201d
\nFirst Reader: Reyes<\/a><\/p>\n

\n

Morgan Snoap<\/a><\/strong>
\n“The State of Silk: Silk brocade textiles (the hizam<\/em> and khrib<\/em>) in Fes, 19th c to present.”
\nFirst Reader: Becker<\/a><\/p>\n

\n

Sihan Zhang<\/strong><\/a>
\n\u201cNarrative Painting in Late Nineteen-Century France\u201d
\nFirst Reader: Barrett<\/a><\/p>\n

\n
\n

Completed Dissertations by Academic Year<\/h3>\n
\n

2025-26<\/h3>
<\/p>\n
\n
\n
\n

Shannon Bewley<\/strong><\/a>
\n“Earth Artists, Indigenous Earthworks, and Land Reclamation Sculpture from 1965 to 1985”
\nFirst Reader: Williams<\/a><\/p>\n

\n

Kimber Chewning<\/a>
\n<\/strong>“Facing Niemandsland<\/em>: The Photographic Subjects of Divided Berlin”
\nFirst Reader:\u00a0Sichel<\/a><\/p>\n

\n

Sarah Horowitz<\/strong><\/a>
\n\u201cDesigning Postwar American Performing Arts Centers, 1955-1971\u201d
\nFirst Reader:\u00a0Abramson<\/a><\/p>\n

\n

Rachel Kline<\/strong><\/a>
\n\u201cUndressing the Renaissance Woman: The Female Nude in Fifteenth-Century Italy\u201d
\nFirst Reader: Cranston<\/a><\/p>\n

\n

Phillippa Pitts<\/strong><\/a>
\n“Pharmacoepic Dreams: Art and America’s Medical Democracy, 1800-1860”
\nFirst Reader: Barrett<\/a><\/p>\n

\n

Bryan Stringer<\/b><\/a>
\n\u201cHealth Centers Come Out of the Cellar\u201d: The United States Public Health Service and the Design of Public Health Centers in Post War America\u201d
\nFirst Reader: Abramson<\/a><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n
\n

2024-25<\/h3>
<\/p>\n
\n
\n

Bailey Benson<\/a><\/strong>
\n“What\u2019s in a Face? Reframing the Expressive Portraiture of Third-Century Roman Emperors” PDF<\/a><\/sup>
\nFirst Reader: Kleiner<\/a><\/p>\n

\n

\u0130kbal Zeynep Dursuno\u011flu<\/strong><\/a>
\n“Imitators of God: The Moral Economy of Safavid and Mughal Painting, c. 1540-1640” PDF<\/a><\/sup>
\nFirst Reader: Fetvaci<\/a><\/p>\n

\n

Carter Jackson<\/a>
\n<\/b>\u201cThe Architecture of Britain\u2019s Imperial Institutes and the Misgivings of Empire\u201d
\nFirst Reader:\u00a0Abramson<\/a><\/p>\n

\n

Jillianne Laceste
\n<\/strong><\/a>“A Republic alongside an Empire: Representations of Christopher Columbus and the Americas in Seventeenth-Century Genoa\u201d\u201d PDF<\/a><\/sup><\/span>
\nFirst Reader: Cranston<\/a><\/p>\n

\n

Liz Neill<\/strong><\/a>
\n“Ancient Geographies, Modern Travels: The Provenance(s) of Imagined Creatures on Archaic Painted Pottery (660-480 BCE)” PDF<\/a><\/sup>
\nFirst Reader: Martin<\/a><\/p>\n

\n

Gabriel Quick<\/strong><\/a>
\n“Organizing Activist Art in 1980s New York: Political Art Documentation\/Distribution”
\nFirst Reader:\u00a0Williams<\/a><\/p>\n

\n

Constanza Robles Sep\u00falveda<\/strong><\/a>
\n“Visualizing Alliances: Pan Americanism, Hispanismo and Latin Americanism in the Art and Architecture of World Fairs, 1901-1929.”
\nFirst Reader: Reyes<\/a><\/p>\n

\n

Althea Ruoppo<\/a>
\n<\/b>“Places of Assemblage: The Transnational German Sculpture of Isa Genzken, Reinhard Mucha, and Rosemarie Trockel”
\nFirst Reader:\u00a0Williams<\/a><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n
\n

2023-24<\/h3>
<\/p>\n
\n

Kiernan Acquisto<\/strong>
\n“The Self-Conscious Kings: Agency and the Representation of Power on the Figural Relief Sarcophagi from The Aya\u2019a Necropolis, Sidon” PDF<\/a><\/sup>
\nFirst Reader:\u00a0Martin<\/a><\/p>\n

\n

Rebecca Arnheim<\/strong>
\n“Ephemera Made Permanent: The Creation, Collection, and Display of Portrait Drawings In Early Modern Italy” PDF<\/a><\/sup>
\nFirst Reader:\u00a0Cranston<\/a><\/p>\n

\n

Willie Granston<\/strong>
\n“”As if it had Growed There”: Resort Architecture and the New England Landscape, 1875-1915″ PDF<\/a><\/sup>
\nFirst Reader:\u00a0Abramson<\/a><\/p>\n

\n

Rachel Kase<\/strong>
\n\u201cFrom Goltzius to Rembrandt: Landscapes of Change in Seventeenth-Century Dutch Prints and Drawings\u201d PDF<\/a><\/sup>
\nFirst Reader: Zell<\/a><\/p>\n

\n

Katherine Mitchell<\/strong>
\n“Photographic Currents: The Nineteeth-Century US River Series of John P. Doremus, Carleton Watkins, and Timothy O’Sullivan” PDF<\/a><\/sup>
\nFirst Reader:\u00a0Sichel<\/a><\/p>\n

\n

Casey Monroe<\/strong>
\n“Economic Imperialism on the Global Frontier:\u00a0 William Henry Jackson\u2019s Photographs for the World\u2019s Transportation Commission, 1894-1897” PDF<\/a><\/sup>
\nFirst Reader:\u00a0Sichel<\/a><\/p>\n

\n

Carlos J. Mu\u00f1oz<\/strong>
\n“The Image of the Strigil-Bearer in Greek and Roman Antiquity, 530 BCE-350 CE” PDF<\/a><\/sup>
\nFirst Reader:\u00a0Martin<\/a><\/p>\n

\n

Juli\u00e1n Serna Lancheros
\n<\/strong>“Haciendo Patria: The Transatlantic Construction of the Official Artist. Colombia, Ecuador, and Venezuela (1860-1890)”
\nFirst Reader: Reyes<\/a><\/p>\n

\n

Francesca Soriano<\/strong>
\n“Feathers and Skins: Avian Art in the Nineteenth Century and Imperial Imagination” PDF<\/a><\/sup>
\nFirst Reader: Barrett<\/a><\/p>\n

<\/div>\n<\/div>\n\n

\n

2022-23<\/h3>
<\/p>\n
\n
\n

Christina An
\n<\/strong>“Johannes Vermeer, Asian Porcelain, and the Primacy of Painting in Seventeenth-Century Holland”
\nFirst Reader: <\/span>Zell<\/a><\/p>\n

\n

Tina Barouti<\/strong>
\n\u201cA Critical Moroccan Chronology: The National Institute of Fine Arts in Tetouan Since 1946″ PDF<\/sup><\/a>
\nFirst Reader: Becker<\/a><\/p>\n

\n

Hyunjin Cho<\/strong>
\n“Illustrated Manuscripts and Lithographic Books in Dialogue: Firdawsi’s Shahnama in Nineteenth-Century Iran”
\nFirst Reader: Fetvaci<\/a><\/p>\n

\n

Lydia Harrington<\/strong>
\n\u201c”Improve and Reform Them”: Ottoman Vocational Schools in Baghdad, Damascus, and Beirut, 1869-1918\u201d
\nFirst Reader:\u00a0Fetvaci<\/a><\/p>\n

\n

Catherine O’Reilly<\/strong>
\n“Last Supper Refectory Frescoes in Fifteenth-Century Florence: Painting, Performance, Senses, and Space”
\nFirst Reader:\u00a0Cranston<\/a><\/p>\n

\n

Joseph Saravo<\/strong>
\n“Re-Covering Gerrit Dou: Still Life Covers, Embodiment, and Illusionism in Seventeenth-Century Dutch Painting”
\nFirst Reader: Zell<\/a><\/p>\n

\n

Jennifer S. Tafe<\/strong>
\n“Nikosthenes: Innovation and Identity in Late Archaic Vase Painting”
\nFirst Reader: Martin<\/a><\/p>\n

\n

Alexandria H. Yen<\/strong>
\n“The Door Motif in Roman Art: 200 BCE – 320 CE”
\nFirst Reader: Kleiner<\/a><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2021-22<\/h3>
<\/p>\n
\n

Lynne Cooney<\/strong><\/p>\n

\u201cFrom the Gertrude Posel Gallery to the Wits Art Museum: Exhibiting African Art at a South African University\u201d PDF<\/sup><\/a>
\nFirst Reader:\u00a0Becker<\/a><\/p>\n

\n

Lauren Graves<\/strong>
\n“The Politics of Place: Photographing New York City during the New Deal” PDF<\/sup><\/a>
\nFirst Reader:\u00a0Sichel<\/a><\/p>\n

\n

Alison Terndrup<\/strong>
\n\u201cThe Sultan’s Gaze: Power and Ceremony in the Imperial Portraiture Campaign of Ottoman Sultan Mahmud II (r. 1808-1839)\u201d PDF<\/sup><\/a>
\nFirst Reader:\u00a0Fetvaci<\/a><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2020-21<\/h3>
<\/p>\n
\n

PJ Carlino <\/strong>(AMNESP)<\/p>\n

“Docile by Design: Commercial Furniture and the Education of American Bodies 1840-1920” PDF<\/a><\/sup>
\nFirst Reader:\u00a0Moore<\/a><\/p>\n

\n

Jordan Karney Chaim<\/strong>
\n\u201cDo It Yourselves: Artists, Alternative Spaces and the Rise of Contemporary Art in Los Angeles, 1970-1990.\u201d PDF<\/sup><\/a>
\nFirst Reader:\u00a0<\/span>Williams<\/a><\/a><\/p>\n

\n

Elisa Germ\u00e1n<\/strong>
\n\u201cThe Creative State: The Calcograf\u00eda Nacional and Printmaking in the Spanish Civil War and Francoist Madrid, 1939-1959\u201d PDF<\/sup><\/a><\/span>
\nFirst Reader:\u00a0Williams<\/a><\/p>\n

\n

Sasha Goldman<\/strong>
\n“Torno Subito<\/em>: Maurizio Cattelan and the Return(s) of Italy” PDF<\/sup><\/a>
\nFirst Reader:\u00a0Williams<\/a><\/p>\n

\n

Kelsey Gustin<\/strong>
\n“Picturing Reform: Ashcan Women and the Visual Culture of the Progressive Era in New York City” PDF<\/sup><\/a>
\nFirst Reader: Hills<\/a><\/p>\n

\n

Ewa\u00a0Matyczyk<\/strong>
\n“Intervention, Memory, and Community: Public Art and Architecture in Warsaw since 1970” PDF<\/sup><\/a>
\nFirst Reader:\u00a0Williams<\/a><\/p>\n

\n

Samuel Palfreyman<\/strong>\u00a0(AMNESP)
\n“The Landscape of Modern Mormonism: Understanding the Church of Jesus Christ of Latter-day Saints through its Twentieth-Century Architecture” PDF<\/a><\/sup>
\nFirst Reader:\u00a0Moore<\/a><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2019-20<\/h3>
<\/strong><\/p>\n
\n

Tessa Hite<\/strong>
\n“Rebranding the Enemy: American Propaganda and Photography in Germany, 1944-1949” PDF<\/sup><\/a>
\nFirst Reader: Sichel<\/a><\/p>\n

\n

Amanda Lett
\n<\/strong>“Valuable Paper and Counterfeit Presentments: Alfred Jones, the American Art-Union and Antebellum Bank Note Engraving” PDF<\/sup><\/a>
\nFirst Reader:\u00a0\u00a0Hills<\/a><\/span><\/p>\n

\n

Bryn Schockmel<\/strong>
\n“The Historical Procession of Andrea Mantegna\u2019s Triumphs of Caesar<\/em>: From the Palazzo Ducale to Hampton Court Palace” PDF<\/sup><\/a>
\nFirst Reader: Cranston<\/a><\/p>\n

\n

Samuel Shupe<\/strong> \u00a0(AMNESP)
\n\u201cPedaling Vacationland: Bicyclists, Genteel Recreation, and the Maine Landscape, 1878-1902\u201d PDF<\/a><\/sup>
\nFirst Reader: Moore<\/a><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2018-19<\/h3>
<\/p>\n
\n

Lara\u00a0Ayad
\n<\/strong>“Picturesque Peasants: Painting Egyptian Identity at the Fuad I Agricultural Museum in Cairo<\/span>” PDF<\/sup><\/a>
\nFirst Reader:\u00a0<\/span>Becker<\/a><\/p>\n

\n

Leslie K. Brown
\n<\/strong>“The Kodak Picture Spot Sign: American Photographic Viewing and Twentieth-Century Corporate Visual Culture” PDF<\/sup><\/a>
\nFirst Reader: <\/span>Sichel<\/a><\/p>\n

\n

Caitlin\u00a0Dalton<\/strong>
\n“Imprinting Art and Ideology: Memory and Pedagogy in the Early German Democratic Republic” PDF<\/sup><\/a>
\nFirst Reader:\u00a0Williams<\/a><\/p>\n

\n

Jamie Devol<\/strong>\u00a0 (AMNESP)
\n\u201cWilliam Henry Furness, Frank Furness, and Louis Sullivan: From Transcendentalism to Architecture, 1802-1924\u201d
\nFirst Reader:\u00a0Morgan<\/a><\/p>\n

\n

Margaret Shortle
\n<\/strong>“Illustrated Divans of Hafiz: Islamic Aesthetics at the Intersection of Art and Literature, 1450-1650”
\nFirst Reader:\u00a0\u00a0<\/span>Fetvaci<\/a><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2017-18<\/h3>
<\/p>\n
\n

Rebekah Beaulieu \u00a0<\/strong>(AMNESP)
\n\u201cAccounting for the Past: Historic House Museums and America’s Urban Midwest\u201d\u00a0 PDF<\/a><\/sup>
\nFirst Reader: <\/span>Moore<\/a><\/p>\n

\n

Melanee\u00a0Harvey<\/strong>
\n“Upon this Rock: Architectural, Material, and Visual Histories of Two Black Protestant Churches, 1881-1969”\u00a0PDF<\/a><\/sup>
\nFirst Reader: Morgan<\/a><\/p>\n

\n

Anjuli Lebowitz
\n<\/strong>“Faith in the Field: The Art of Discovery in Auguste Salzmann’s Photographic Albums, 1854-1875” PDF<\/a><\/sup>
\nFirst Reader: Sichel<\/a><\/p>\n

\n

Erin McKellar<\/strong>
\n“Tomorrow on Display: American and British Housing Exhibitions, 1940-1955” PDF<\/sup><\/a>
\nFirst Reader:\u00a0Hochh\u00e4usl<\/a><\/p>\n

\n

Erin\u00a0Hyde Nolan<\/strong>
\n“Ottomans Abroad: The Circulation and Translation of Nineteenth-Century Ottoman Portrait Photographs”\u00a0 PDF<\/sup><\/a>
\nFirst Reader: Sichel<\/a><\/p>\n

\n

Sarah Parrish<\/strong>
\n“Anthropologies of Fiber: Claire Zeisler, Ed Rossbach, Sheila Hicks” PDF<\/a><\/sup>
\nFirst Reader:\u00a0Williams<\/a><\/p>\n

\n

Lana\u00a0Sloutsky<\/strong>
\n“Quasi Alterum Byzantium:\u00a0The Preservation of Identity Through Memory and Culture by Aristocratic Byzantine Women, 1440-1600” PDF<\/a><\/sup>
\nFirst Reader: Cranston<\/a><\/p>\n

\n

Emily Voelker<\/strong>
\n“From Both Sides of the Lens: Anthropology, Native Experience & Photographs of American Indians in French Exhibitions, 1870-1890\u2033
\nFirst Reader: Sichel<\/a><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2016-17<\/h3>
<\/p>\n
\n

Lindsay Alberts<\/strong>
\n“From Stuidiolo<\/em>\u00a0to Uffizi: Sites of Collecting and Display under Francesco I de’ Medici” PDF<\/a><\/sup>
\nFirst Reader:\u00a0Cranston
\nSecond Reader: Zell<\/p>\n

\n

Susan\u00a0Barahal<\/strong>
\n“Repaint, Reframe, Renew: Updating Sacred Images during the Early Italian Renaissance<\/span>” PDF<\/a><\/sup>
\nFirst Reader:\u00a0<\/span>Cranston
\nSecond Reader: Kahn<\/span><\/p>\n

\n

Caroline M. Riley<\/strong>
\n\u201c’Ambassador of Good Will’: The Museum of Modern Art\u2019s Three Centuries of American Art<\/em>\u00a0in 1930s Europe and the United States\u201d PDF<\/a><\/sup>
\nFirst Reader: Hills
\nSecond Reader: Sichel<\/p>\n

\n

Deborah Hartry Stein<\/strong>
\n“The Visual Rhetoric of Charles Callahan Perkins: The Early Italian Renaissance and a New Fine Arts Paradigm for Boston” PDF<\/sup><\/a>
\nFirst Reader: Morgan
\nSecond\u00a0Reader:<\/span>\u00a0Cranston
\n<\/span><\/a><\/p>\n

\n

Alona Wilson<\/strong>
\n\u201cThe Formation of an African American Artis, Hughie Lee-Smith, From 1925 to 1968\u201d PDF<\/a><\/sup>
\nFirst Reader: Hills
\nSecond Reader: Gwendolyn DuBois Shaw<\/span><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2015-16<\/h3>
<\/p>\n
\n

George Born\u00a0(AMNESP)<\/strong>
\n\u201cHome Rule: Local Historic Districting in the New Boston, 1953-1983\u201d
\nFirst Reader: Keith N. Morgan<\/p>\n

\n

Kathleen\u00a0Daly\u00a0(AMNESP)<\/strong>
\n\u201cFit to Mother: Women, Architecture, and the Performance of Health, 1865-1930\u201d PDF<\/sup><\/a>
\nFirst Reader: Keith N.\u00a0Morgan
\nSecond Reader: William D. Moore<\/span><\/p>\n

\n

Beth Pugliano\u00a0<\/strong>
\n\u201cAll Those Who Fight: The Motif of Single Combat in Romanesque Art, c. 1050-1215\u201d PDF<\/sup><\/a>
\nFirst Reader:\u00a0Kahn<\/p>\n

\n

Casey<\/span>\u00a0Riley<\/span>\u00a0\u00a0(AMNESP)<\/strong><\/strong>
\n\u201cFrom page to stage: Isabella Stewart Gardner’s photograph albums and the development of her museum, 1874-1924\u201d<\/span>
\nFirst Reader: Sichel<\/p>\n

\n

Karen\u00a0Robbins\u00a0\u00a0(AMNESP)<\/strong><\/strong>
\n\u201cDiscipline and Polish: Designing the “Family System” at the Connecticut Industrial School for Girls, 1868-1921\u201d PDF<\/a><\/sup>
\nFirst Reader: Keith N.\u00a0<\/span>Morgan
\nSecond Reader: William D. Moore<\/p>\n

\n

Seung Yeon\u00a0Sang\u00a0\u00a0<\/strong>
\n“The Trajectory of Modern Ceramic Scholarship: Okuda Seiichi’s Ceramic Appreciation in the Taish\u014d Period, 1912 \u2013 1926” PDF<\/a><\/sup>
\nFirst Reader: Alice Y. Tseng
\nSecond Reader:\u00a0Louise Cort<\/p>\n

\n

George\u00a0Schwartz\u00a0\u00a0(AMNESP)<\/strong><\/strong>
\n\u201c\u2018Collecting and Arranging\u2026a History of the Globe\u2019: A Reconsideration of the Salem East India Marine Society and Antebellum American Museology\u201d PDF<\/a><\/sup>
\nFirst Reader: <\/span>Morgan<\/p>\n

\n

Naomi<\/span>\u00a0Slipp<\/span>\u00a0\u00a0<\/strong>
\n“The Secret Figure: Artistic Anatomy and the Search for the Medical Body in Nineteenth-Century American Art”<\/span>
\nFirst Reader:\u00a0Hills<\/p>\n

\n

Ginger Elliott<\/span>\u00a0Smith<\/span><\/strong>
\n“Technology and Artistic Practice in 1960s and 1970s Southern California” PDF<\/a><\/sup>
\nFirst Reader: Gregory Williams
\nSecond Reader: Patricia Hills<\/p>\n

\n

Martina\u00a0Tanga\u00a0\u00a0<\/strong>
\n“Arte Ambientale and Arte nel Sociale in Italian Art of the 1970s”
\nFirst Reader: Gregory\u00a0<\/span>Williams<\/p>\n

\n

Catherine<\/span>\u00a0Walsh<\/span><\/strong>
\n\u201cRenaissance Landscapes and the Figuration of Giambologna\u2019s Appennino<\/em>: An Ecocritical Analysis\u201d PDF<\/a><\/sup>
\nFirst Reader: Jodi\u00a0Cranston
\nSecond Reader: Michael Zell<\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2014-15<\/h3>
<\/p>\n
\n

<\/a>Judy Ditner
\n<\/strong>“Art is a Lie that\u00a0Makes Us Realize Truth: Walid Raad’s Abstract Realism” PDF<\/a><\/sup>
\nFirst Reader: Kim\u00a0<\/span>Sichel
\nSecond Reader: Gregory Williams<\/span><\/p>\n

\n

Kenneth\u00a0Hartvigsen<\/span>\u00a0\u00a0<\/strong>
\n\u201c\u2018Patriotism, Race, and Gender Bending Through American Song: Cover Illustrations of Popular Music from the Civil War to World War I\u201d PDF<\/a><\/sup>
\nFirst Reader: Patricia\u00a0<\/span>Hills
\nSecond Reader: William D. Moore<\/span><\/p>\n

\n

Keely<\/span>\u00a0Orgeman<\/span> \u00a0<\/strong>
\n\u201cVisualizing the Irradiated Body and Radioactive Landscape in American Art, 1945-2010\u201d PDF<\/a><\/sup>
\nFirst Reader: Patricia\u00a0Hills
\nSecond Reader: Gregory Williams
\n<\/span><\/p>\n

\n

Brian<\/span>\u00a0Sirman<\/span> \u00a0 (AMNESP)<\/strong><\/strong>
\n\u201cConcrete Dreams: Architecture, Politics, and Boston\u2019s New City Hall, 1960-2010\u201d\u00a0 PDF<\/sup><\/a>
\nFirst Reader: Keith N.\u00a0Morgan
\n<\/span><\/p>\n

\n

Zachary<\/span>\u00a0Violette<\/span>\u00a0 (AMNESP)<\/strong>
\n\u201c<\/span>The Decorated Tenement: Working-Class Housing in Boston and New York, 1860-1910\u201d PDF<\/sup><\/a>
\nFirst Reader: Keith N.\u00a0<\/span>Morgan
\nSecond Reader: William D. Moore<\/span><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2013-14<\/h3>
<\/p>\n
\n

Carrie\u00a0Anderson
\n<\/strong>“Johan Maurits\u2019s Brazilian Collection: The Role of Ethnographic Gifts in Colonial Discourse” PDF<\/a><\/sup>
\nFirst Reader: Michael Zell
\nSecond Reader: Jodi Cranston<\/span><\/p>\n

\n

John Gordon \u00a0\u00a0(AMNESP)
\n<\/strong>“Lurelle Guild’s Historical Modernism: Americana and Industrial Design” PDF<\/sup><\/a>
\nFirst Reader: Keith N.\u00a0<\/span>Morgan
\nSecond Reader:\u00a0Edward S. Cooke, Jr.<\/p>\n

\n

Katherine Harper
\n<\/strong>“Hendrick Goudt: New Light on an Artist and Nobleman” PDF<\/sup><\/a>
\nFirst Reader: Michael\u00a0<\/span><\/span>Zell
\nSecond Reader: Jodi Cranston<\/span><\/p>\n

\n

Yanchiuan He
\n<\/strong>\u201cThe Materiality, Style, and Culture of Calligraphy in the Northern Song Dynasty (960-1127)\u201d PDF<\/sup><\/a>
\nFirst Reader: Qianshen\u00a0Bai
\nSecond Reader: Heping Liu<\/span><\/p>\n

\n

Meghen Jones
\n<\/strong>“Tomimoto Kenkichi and the Discourse of Modern Japanese Ceramics” PDF<\/sup><\/a>
\nFirst Reader: Alice Y.\u00a0<\/span>Tseng
\nSecond Reader: Louise Allison Cort<\/span><\/p>\n

\n

Dean George Lampros\u00a0(AMNESP)
\n<\/strong>\u201cLike a Real Home: The Residential Funeral Home and America’s Changing Vernacular Landscape, 1910 – 1960\u2033 PDF<\/sup><\/a>
\nFirst Reader:\u00a0Richard M. Candee
\nSecond Reader: William D. Moore<\/span><\/p>\n

\n

Austin\u00a0Porter
\n<\/strong>“Paper Bullets: The Office of War Information and American World War II Print Propaganda”\u00a0 PDF<\/a><\/sup>
\nFirst Reader:\u00a0<\/span>Hills<\/a>
\n<\/span><\/p>\n

\n

Jessica Roscio (AMNESP)
\n<\/strong>\u201cPhotographic domesticity: The home\/studios of Alice Austen, Catharine Weed Barnes Ward, and Frances Benjamin Johnston, 1885\u20131915\u201d\u00a0 PDF<\/a><\/sup>
\nFirst Reader:<\/span> Sichel<\/a><\/p>\n

\n

Benjamin Zweig
\n<\/strong>\u201cDepicting the Unforgivable Sin: Images of Suicide in Medieval Art\u201d\u00a0 PDF<\/a><\/sup>
\nFirst Reader:<\/span>\u00a0Kahn<\/a><\/span><\/p>\n

\n

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\n

2012-13<\/h3>
<\/p>\n
\n

Katherine<\/span>\u00a0Carroll
\n<\/strong>“Modernizing the American Medical School, 1893-1940: Architecture, Pedagogy, Professionalization, and Philanthropy”
\nFirst Reader: <\/span>Morgan<\/a>
\n<\/span><\/p>\n

\n

Susanne<\/span>\u00a0Moebus-Bergeron<\/span>
\n<\/strong>\u201cThe Adaptation and Application of Goldsmith Techniques in Medieval Manuscripts from the Early Eleventh to the Mid-Thirteenth Century\u201d
\nFirst Reader:<\/span>\u00a0<\/span>Kahn<\/a><\/span><\/p>\n

\n

Colin Root (AMNESP)
\n<\/strong>\u201dLiving on the Level\u2019: The Significance of Horizontality in Shaping Cold-War America\u201d
\nFirst Reader: <\/span>Morgan<\/a>
\n<\/span><\/span><\/p>\n

\n

Tara Ward
\n<\/strong>\u201cPersonal Space: Simultaneity in the 1913 Work of Robert Delaunay, Fernand L\u00e9ger, and Sonia Delaunay\u201d
\nFirst Reader:<\/span>\u00a0Cranston<\/a><\/span><\/span><\/p>\n

\n

Francine Weiss\u00a0(AMNESP)
\n<\/strong>“Visual Verses: Edward Weston’s Photographs for Walt Whitman’s Leaves of Grass, 1941-1942”
\nFirst Readers:<\/span>\u00a0Hills<\/a>, \u00a0Sichel<\/a><\/span><\/span><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2011-12<\/h3>
<\/p>\n
\n

Virginia<\/span>\u00a0Anderson
\n<\/strong>” ‘A State of Anxious Uncertainty’: The Critical Reception of Jasper Johns”
\nFirst Readers:\u00a0Jones, Williams<\/a><\/span><\/span><\/p>\n

\n

Christine\u00a0Hult-Lewis \u00a0(AMNESP)
\n<\/strong>“The Mining Photographs of Carleton Watkins, 1858-1891 and the Origins of Corporate Photography”
\nFirst Reader:<\/span>\u00a0Sichel<\/a><\/span><\/span><\/p>\n

\n

Amber<\/span>\u00a0Ludwig<\/span>
\n<\/strong>“‘Becoming Emma Hamilton: Portraiture and Self-Fashioning in Late Enlightenment Europe”
\nFirst Reader:<\/span>\u00a0Redford<\/a><\/span><\/span><\/p>\n

\n

Melissa<\/span>\u00a0Renn<\/span>
\n<\/strong>“LIFE in the Art World, 1936-1972”
\nFirst Reader:<\/span>\u00a0Hills<\/a><\/span><\/span><\/p>\n

\n

<\/div>\n<\/div>\n\n

\n

2010-11<\/h3>
<\/p>\n
\n

Stacey Cutshaw
\n<\/strong>“Intimate Images: The Public and the Private in Twentieth-Century American Photography”
\nFirst Readers:\u00a0Jones,\u00a0Sichel<\/a><\/span><\/p>\n

\n

Keith<\/span> Doherty
\n<\/strong>“Roman Landscape Painting, Narrative, and Ancient Cartography
\n<\/span>First Reader:\u00a0Kleiner<\/a><\/span><\/p>\n

\n

Dalia<\/span> Habib Linssen<\/span>
\n<\/strong>“Imprints of Their Being: the Photographs of Hansel Mieth and Otto Hagel.”
\n<\/span>First Reader:\u00a0Sichel<\/a><\/span><\/p>\n

\n

Holly<\/span> Markovitz Goldstein<\/span>
\n<\/strong>“American Landscapes as Revisionist History: The Frontier Photographs ofMark Klett, John Pfahl, Deborah Bright, and Robert Adams”
\n<\/span>First Reader:\u00a0Sichel<\/a>
\n<\/span><\/p>\n

\n

Timothy<\/span> Orwig<\/span>
\n<\/strong>“Patriotism, Taste, and Authenticity: Joseph Everett Chandler, the Preservation Movement and the Colonial Revival.”
\nFirst Reader:\u00a0Morgan<\/a><\/span><\/p>\n

\n

Ellen<\/span> Roberts<\/span>
\n<\/strong>\u201cJapanese Art and the American Aesthetic Interior, 1870-1900\u201d
\nFirst Reader:\u00a0Morgan<\/a><\/span><\/p>\n

\n

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\n

Pre 2010<\/h3>
<\/p>\n
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 <\/p>\n

 <\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2009<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Dolan, Julia<\/td>\n“I will Take you into the Heart of Modern Industry: Lewis Hine’s Photographic Interpretation of the Machine Age”<\/td>\nK. Sichel<\/td>\n<\/tr>\n
DuBois, Michelle<\/td>\n“Picturing ‘The Structure of Becoming’ – Charles Seliger’s Expressions of Complexity.”<\/td>\nP. Hills,G. Williams<\/td>\n<\/tr>\n
Dumett, Mari<\/td>\n“Corporate Imaginations: The Fluxus Collective in the Age of Multinational Capitalism”<\/td>\nC. Jones,P. Hills<\/td>\n<\/tr>\n
Emans Moore, Charlotte\u00a0(AMNESP)<\/strong><\/td>\n“Art as Text, War as Context: The Art Gallery of the Metropolitan Fair,
\nNew York City’s Artistic Community, and the Civil War”<\/em><\/td>\n		P. Hills<\/td>\n<\/tr>\n
Lamuni\u00e8re, Michelle<\/td>\n\u201cThe Social Museum at Harvard: Francis Greenwood Peabody and Early Twentieth-Century Social Reform Photography in Context “<\/td>\nK. Sichel<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2008<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Albers, Kate Palmer<\/td>\n\u201cArchive\/Atlas\/Album: The Photographic Records of Christian Boltanski, Dinh Q. L\u00ea, and Gerhard Richter\u201d<\/td>\nC. Jones,K. Sichel<\/td>\n<\/tr>\n
Barrett, Ross<\/td>\n“Rendering Violence: Riots, Strikes, and Upheaval in Nineteenth-CenturyAmerican Art and Visual Culture”<\/td>\nP. Hills<\/td>\n<\/tr>\n
Burgess, Rebekah(AMNESP)<\/strong><\/td>\n\u201cCollecting Agency: Turn-of-the-Century Lowell, Massachusetts Workers Return the Camera\u2019s Gaze\u2019<\/td>\nK. Sichel<\/td>\n<\/tr>\n
De Appolonia, Giovanna<\/td>\n\u201cProfane and Sacred Justice: The Symbolism of the Romanesque Column-Bearing Lion from Northern Italy\u201d<\/td>\nD. Kahn<\/td>\n<\/tr>\n
Mayer, Stephanie<\/td>\n“The Art of The Gift:\u00a0 Mount, Sully, Huntington, and the Antebellum Gift Book Industry”<\/td>\nP. Hills<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2007<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Senf, Rebecca<\/td>\n\u201cIntimate Places: Ansel Adams\u2019s Photographs in the American West and Southwest, 1916-1936\u201d<\/td>\nK. Sichel<\/td>\n<\/tr>\n
Steck, Stuart<\/td>\n\u201cVeiling the Subject: Ellsworth Kelly and the Discourses of Modernism\u201d<\/td>\nC. Jones,P. Hills<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2006<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Blais, Catherine<\/td>\n\u201cThe Artist\/ Curator Phenomenon: Maneuvers In The Economy of a Relation\u201d<\/td>\nC. Jones,J. Ribner<\/td>\n<\/tr>\n
Driemeyer, Laura(AMNESP)<\/strong><\/td>\n“Rising from the Ashes:\u00a0 The Transformation of 19th Century Building Culture in Charlestown, Massachusetts”<\/td>\nK.N. Morgan<\/td>\n<\/tr>\n
Seaman, Natasha<\/td>\n\u201cArchaism and the Critique of Caravaggio in the Religious Paintings of Hendrick Ter Brugghen\u201d<\/td>\nM. Zell<\/td>\n<\/tr>\n
Tronchin, Francesca<\/td>\n\u201cAn Eclectic Locus Artis: The Casa Di Octavius Quartio At Pompeii\u201d<\/td>\nF. Kleiner<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2005<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Hamilton, Jaimey<\/td>\n\u201cStrategies of Excess: The Postwar Assemblages of Alberto Burri, Robert Rauschenberg, and Arman”<\/td>\nC. Jones,P. Hills<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2004<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Gertsman, Elina<\/td>\n\u201cDebeo Saltare<\/em>: Theology, Reception and Performativity in the Medieval Dance of Death.\u201d<\/td>\nJ. Cranston<\/td>\n<\/tr>\n
Hoss, Mary Louise<\/td>\n\u201cThe Female Collegian in Black and White: Institutional Photography of Women Students 1895-1915\u201d<\/td>\nK. Sichel<\/td>\n<\/tr>\n
Shafer, Deborah<\/td>\n\u201cFashioning an Ideal of Intimacy: British Family Portraits, 1730-1790\u201d<\/td>\nJ. Ribner<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2003<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Altvater, Francis A<\/td>\n\u201cIn Fonte Renatus<\/em>: The Iconography and Context of Twelfth-CenturyBaptismal Fonts in England\u201d<\/td>\nD. Kahn<\/td>\n<\/tr>\n
Furth, Leslie<\/td>\n\u201cImaging Transgression: Subverting the Victorian Norm in the Work of Thomas Satterwhite Noble, John Singer Sargent and John White Alexander\u201d<\/td>\nP. Hills,J. Ribner<\/td>\n<\/tr>\n
Kjellman-Chapin, Monica<\/td>\n\u201cEmbodying Aestheticism: Whistler and the Tradition of the Nude\u201d<\/td>\nJ. Ribner<\/td>\n<\/tr>\n
Lawrence, Kathleen(AMNESP)<\/strong><\/td>\n\u201cAesthetic Transcendentalism and its Legacy: Margaret Fuller, William Wetmore\u201d<\/td>\nS. Mizruchi, P. Hills<\/td>\n<\/tr>\n
Richardson, Milda B<\/td>\n\u201cThe Metamorphosis of the Lithuanian Wayside Shrine, 1850-1990\u201d<\/td>\nK.N. Morgan<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2002<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Bresler, Ross<\/td>\n\u201cBetween Ancient and All\u2019antica<\/em>: The Imitation of Roman Coins in the Renaissance\u201d<\/td>\nH. Wohl,F. Kleiner<\/td>\n<\/tr>\n
Lane, Grayson Harris<\/td>\n\u201cDuncan Phillips and the Phillips Memorial Gallery: A Patron and Museum in Formation, 1918-1940\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
Iarocci, Louisa<\/td>\n\u201cSpaces of Desire: The Department Store in America\u201d<\/td>\nK.N. Morgan<\/td>\n<\/tr>\n
Rhee, Jieun<\/td>\n\u201cPerforming the Order: Asian Bodies in Performance and Video Art\u201d<\/td>\nC. Jones,P. Hills<\/td>\n<\/tr>\n
Rubin, Sydelle<\/td>\n\u201cEmigrants in Harlem: New Perspective on Miguel Covarrubias and Winold Reiss\u201d<\/td>\nP. Hills,S. Nelson<\/td>\n<\/tr>\n
Vure, Sarah<\/td>\n\u201cIndependent American Artist: The Post-Armory Show Careers of Robert Henri and John Sloan\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2001<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Carso, Kerry Dean(AMNESP)<\/strong><\/td>\n\u201cReading the Gothic: American Art and Architecture in the Age of RomanticLiterature, 1800-1850\u201d<\/td>\nK.N. Morgan<\/td>\n<\/tr>\n
D\u2019Ambrosio, Paul S(AMNESP)<\/strong><\/td>\n\u201cRalph Fasanella (1914-1997): The Making of a Working-Class Artist\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
Dermer, Rachelle<\/td>\n\u201cLed to Believe: Photography and the Construction of the Medical Subject\u201d<\/td>\nC. Jones,K. Sichel<\/td>\n<\/tr>\n
Spinari-Pollalis, Tatiana<\/td>\n“Andr\u00e9 Breton: Psychiatry in the Service of Surrealism”<\/td>\nK. Sichel<\/td>\n<\/tr>\n
Taylor, Stephanie<\/td>\n\u201cConstructing Cornell: Artistic Identity and the Invention of Joseph Cornell\u201d<\/td>\nC. Jones<\/td>\n<\/tr>\n
Wilcox-Titus, Catherine<\/td>\n\u201cSkin Deep: Authorship, Authenticity, and Picturing a Self in American Art since the 1970s\u201d<\/td>\nC. Jones,P. Hills<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
2000<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Georgi, Karen<\/td>\n\u201cAsher B. Durand’s American Landscapes and the Nature of Representation\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1999<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Alexander-Shilland, Kimberly<\/td>\n\u201cWare and Van Brunt: Architectural Practice and Professionalization (1863-1881)\u201d<\/td>\nK.N. Morgan<\/td>\n<\/tr>\n
Housefield, James E<\/td>\n\u201cFrench Interpretations of Leonardo da Vinci\u2019s Modernity: A Mind at Work in Art and Science\u201d<\/td>\nH. Wohl<\/td>\n<\/tr>\n
Kao, Deborah Martin<\/td>\n\u201cRadioactive Icons: The Critical Reception and Cultural Meaning of Modern Religious Art in Cold War America\u201d<\/td>\nP. Hills,C. Jones<\/td>\n<\/tr>\n
Landsmark, Theodore Carlisle(AMNESP)<\/strong><\/td>\n\u201c\u2019Haunting Echoes\u2019: Histories and Exhibition Strategies for Collecting Nineteenth-Century African-American Crafts\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
Lyons, Maura<\/td>\n\u201cWilliam Dunlap and Construction of an American Art History\u201d<\/td>\nP. Hills,K.N. Morgan<\/td>\n<\/tr>\n
Payne, Carol J.<\/td>\n\u201cInteractions of Photography and the Mass Media, 1920-1941\u201d<\/td>\nK. Sichel<\/td>\n<\/tr>\n
Stomberg, John<\/td>\n\u201cArt and Fortune: Machine-Age Discourse and the Visual Culture of Industrial Modernity\u201d<\/td>\nP. Hills,K. Sichel<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1998<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Bookbinder, Judith<\/td>\n\u201cFigurative Expressionism in Boston and its Germanic Cultural Affinities: An Alternative Modernist Discourse on Art and Identity\u201d<\/td>\nP. Hills,C. Jones<\/td>\n<\/tr>\n
Ehrenpries, David<\/td>\n\u201cBeyond the Femme Fatale<\/em>: Female Types in Wilhelmime Visual Culture\u201d<\/td>\nJ. Ribner<\/td>\n<\/tr>\n
Fontana, Jeffrey<\/td>\n\u201cFederico Barocci: Imitation and the Formation of Artistic Identity\u201d<\/td>\nH. Wohl<\/td>\n<\/tr>\n
Gruskin, Nancy B<\/td>\n\u201cBuilding Context: The Personal and Professional Life of Eleanor Raymond, Architect (1887-1989)\u201d<\/td>\nK.N. Morgan<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1997<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Barr, Peter<\/td>\n\u201cBecoming Documentary: Berenice Abbott’s Photographs, 1925-1939\u201d<\/td>\nK. Sichel<\/td>\n<\/tr>\n
Brody, David Eric(AMNESP)<\/strong><\/td>\n\u201cFantasy Realized: The Philippines, Orientalism, and Imperialism in Turn-of-the century American Visual Culture\u201d<\/td>\nP. Hills,K.N. Morgan<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1996<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Hanni, Margaret<\/td>\n\u201cThe Marriage Portrait in 18th-Century England\u201d<\/td>\nA. Binion<\/td>\n<\/tr>\n
Riccardi, Lee Ann<\/td>\n\u201cRoman Imperial Portraiture in the Eastern Provinces, A.D. 235-270: A Study of Reception and Rejection of Imperial Models\u201d<\/td>\nF. Kleiner<\/td>\n<\/tr>\n
Trump, Erik Krenzen(AMNESP)<\/strong><\/td>\n\u201cThe Indian Industries League and its Support of American Indian Arts 1893-1922:A Study of Changing Attitudes Towards Indian women and Assimilationist Policy\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1995<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Allen, Nina(AMNESP)<\/strong><\/td>\n\u201cThomas Hart Benton and John Steinbeck: Populist Realism in the Depression Era\u201d<\/td>\nW. Vance,P. Hills<\/td>\n<\/tr>\n
Carson, Jeanie Cooper(AMNESP)<\/strong><\/td>\n\u201cInterpreting National Identity in Time of War: Competing Views in United States Office of War Information (OWI) Photography, 1940-1945\u201d<\/td>\nK. Sichel<\/td>\n<\/tr>\n
White, Eric<\/td>\n\u201cHugo Van Der Goes and the Art of Imitation in Early Netherlandish Painting\u201d<\/td>\nA. Binion<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1994<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
McInnes, Mary Drach<\/td>\n\u201cTaboo and Transgression: The Subversive Aesthetics of Georges Bataille and Documents<\/em>\u201d<\/td>\nK. Sichel,F. Licht<\/td>\n<\/tr>\n
Patton, Pamela A<\/td>\n\u201cThe Cloister of San Juan de la Pena and Monumental Sculpture in Aragon and Navrre\u201d<\/td>\nS. Von Daum Tholl<\/td>\n<\/tr>\n
Steinberg, Norma Sheila<\/td>\n\u201cWilliam Gropper: Art and Censorship from the 1930s Cold War Era\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
Thompson (Moriarty), Phyllis Anina<\/td>\n\u201cThe Triumph of Poverty Over Fortune: Illuminations From Boccaccio’s De Casibus Virorum Illustrium<\/em>\u201d<\/td>\nN. Miller<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1993<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Murphy, Debra<\/td>\n\u201cThe Fresco Decoration of the Pauline Rooms in the Palazzo Dei Conservatori\u201d<\/td>\nH. Wohl<\/td>\n<\/tr>\n
Nahum, Katherine<\/td>\n\u201cCoborn Harding ‘The Importance of Velazquez to Goya, Manet and Sargent’\u201d<\/td>\nF. Licht<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1992<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Bauman, Priscilla<\/td>\n\u201cRegional Iconography in Auvergne: Pre-Chistian and Gallo-Roman Vocabulary in Romanesque Sculpture\u201d<\/td>\nS. Von Daum Tholl<\/td>\n<\/tr>\n
Green, Caroline V<\/td>\n\u201cFabricating a Dream: American World\u2019s Fair Sculpture, 1876-1915\u201d<\/td>\nF. Licht,K.N. Morgan<\/td>\n<\/tr>\n
Hirshler, Erica E<\/td>\n\u201cLillian Westcott Hale (1880-1963): A Woman Painter of Boston School\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
Milhous, Margaret<\/td>\n\u201cHonos<\/em> and Virtus<\/em> in Roman Art\u201d<\/td>\nF. Kleiner<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1991<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Ashbrook, Susan<\/td>\n\u201cThe Private Press Movement in Britain 1890-1914\u201d<\/td>\nJ. Ribner,K. N. Morgan<\/td>\n<\/tr>\n
Porterfield, Todd B<\/td>\n\u201cArt in the Service of the French Imperialism in the Near East, 1798-1848: Four Case Studies\u201d<\/td>\nF. Licht,J. Ribner<\/td>\n<\/tr>\n
Sheckler, Allyson<\/td>\n\u201cRoman Honorary Arches in Iberia\u201d<\/td>\nF. Kleiner,J. Wiseman<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1990<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Goodwin, Mary<\/td>\n\u201cMinor White: Silence of Seeing. Teaching Photography’s Visible Language\u201d<\/td>\nC. Chiarenza, K. Sichel<\/td>\n<\/tr>\n
Kahn, Lisa C<\/td>\n\u201cGallo-Roman Sculpture from Soulosse, France\u201d<\/td>\nF. Kleiner<\/td>\n<\/tr>\n
Milne, Louise S<\/td>\n\u201cDreams and Popular Beliefs in the Imagery of Pieter Bruegal the Elder c. 1528-1569\u201d<\/td>\nH. Wohl,N. Miller<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1989<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Doezema, Marianne<\/td>\n\u201cGeorge Bellows & Urban America 1905-1913\u201d<\/td>\nP. Hills,D. Hall<\/td>\n<\/tr>\n
Panzer, Mary(AMNESP)<\/strong><\/td>\n\u201cRomantic Origins of American Realism: Photography, Arts & Letters in Philadelphia 1850-1875\u201d<\/td>\nC. Chiarenza<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1988<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Cassidy, Donna<\/td>\n\u201cThe Painted Music of America in the Works of Arthur G. Dove, John Marin and Joseph Stella: An Aspect of Cultural Nationalism\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
Glavin, Ellen Marie<\/td>\n\u201cMaurice Prendergast: The Development of an American Post-Impressionist, 1900-1925\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
Hoff, Michael C<\/td>\n\u201cThe Roman Agora at Athens\u201d<\/td>\nF. Kleiner<\/td>\n<\/tr>\n
Johnston, Patricia<\/td>\n\u201cEdward Steichen’s Advertising Photography: The Visual Strategies of Persuasion\u201d<\/td>\nC. Chiarenza, P. Hills<\/td>\n<\/tr>\n
Nessen, Susan W<\/td>\n\u201cSurrealism in Exile: The Early New York Years, 1940-1942\u201d<\/td>\nH. Wohl<\/td>\n<\/tr>\n
Stewart, David Alan<\/td>\n\u201cG.F. Watts: The Social and Religious Themes\u201d<\/td>\nK. Bendiner, K.N. Morgan<\/td>\n<\/tr>\n
\n

\n<\/td>\n

<\/td>\n<\/td>\n<\/tr>\n
\n

1987<\/p>\n<\/td>\n

<\/td>\n<\/td>\n<\/tr>\n
Black, Janet Phyrn<\/td>\n\u201cAspects of the Artist\u2019s Education in Eighteenth-Century France\u201d<\/td>\nA. Binion<\/td>\n<\/tr>\n
Dabakis, Melissa<\/td>\n\u201cSaul Baizerman (1889-1957)\u201d<\/td>\nP.Hills,F. Licht<\/td>\n<\/tr>\n
Longsworth, Ellen L<\/td>\n\u201cThe Renaissance Tomb in Milan\u201d<\/td>\nH. Wohl<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1986<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
Calo, Carole Gold<\/td>\n\u201cAspects of Wood Sculpture in America During the 1950\u2019s\u201d<\/td>\nF. Licht<\/td>\n<\/tr>\n
Stott, Annette<\/td>\n\u201cAmerican Painters who worked in the Netherlands\u201d<\/td>\nP. Hills<\/td>\n<\/tr>\n
Webbe, Nancy Lodge<\/td>\n\u201cThe Three Graces in Renaissance Art: Origins and Transformations of a Theme\u201d<\/td>\nH. Wohl<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
\n

<\/div>\n<\/div>\n\n

(AMNESP)<\/strong> denotes the student is a doctoral candidate in the American and New England Studies Program; all others are History of Art & Architecture doctoral candidates\/recipients.<\/p>\n","protected":false},"excerpt":{"rendered":"

In Progress Joshua Basseches \u201cThe \u2018American School\u2019 at the International Expositions of the Late Nineteenth Century\u201c First Reader:\u00a0Hills Ren\u00e9e Brown “Eye to Eye: Paul Vanderbilt and the Ordering of Photographic Knowledge, 1940-1970” First Reader:\u00a0Sichel Isabella Dobson “Laboring Women: Picturing Female Care Workers in Italian Renaissance Childbirth Contexts” First Reader: Cranston Colleen Foran “At the Intersection […]<\/p>\n","protected":false},"author":3928,"featured_media":0,"parent":139,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages\/302"}],"collection":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/users\/3928"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/comments?post=302"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages\/302\/revisions"}],"predecessor-version":[{"id":18131,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages\/302\/revisions\/18131"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/pages\/139"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/haa\/wp-json\/wp\/v2\/media?parent=302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}