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dc.contributor.advisorStanton, Anne Rudloff, 1960-eng
dc.contributor.authorAyers, Julie, 1985-eng
dc.date.issued2010eng
dc.date.submitted2010 Summereng
dc.descriptionThe entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract, appears in the public.pdf file.eng
dc.descriptionTitle from PDF of title page (University of Missouri--Columbia, viewed on December 10, 2010).eng
dc.descriptionThesis advisor: Dr. Anne Rudolph Stanton.eng
dc.descriptionIllustrations removed by author.eng
dc.descriptionM.A. University of Missouri--Columbia 2010.eng
dc.descriptionImages removed by author due to copyright restrictions.eng
dc.description.abstract[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT REQUEST OF AUTHOR.] This thesis focuses on a trompe l'oeil motif that mimics torn, tattered and pierced parchment known as pagina strappata ("torn page"). This phrase can refer to both a sheet that is torn out of something and a sheet that has tears in it, and both meanings will be applied to this study, as the motif is found in two compositionally different designs. The first form, pagina strappata all' esterno ("external torn page"), presents a completely separate torn page of text that is held within the space created by the illumination, These frontispieces all feature a sheet of parchment, seemingly torn from its own bound context, and placed within the illumination, itself bound in a book. The second, pagina strappata all' interno ("internal torn page"), illusionistically presents a tear in the actual page. By tearing the actual sheet of parchment, the painting forces the viewer to question where the surface of the page is as the edges lift and curl away from the presented surface. This proposed typology, based on spatial relationships both within and beyond the page, divides and analyses these two pagina strappata motifs, while recognizing that each form shares a torn and thus aged identity. The pagina strappata motifs are trompe l'oeil designs, which means they deceive the viewer into believing the created object is in fact real, or at the very least an imitation of a real object. Each design constantly references the idea of layers, both within the painting and beyond, creating strong relationships that can confuse what is created and what is real.eng
dc.description.bibrefIncludes bibliographical references.eng
dc.format.extentviii, 110 pageseng
dc.identifier.merlinb81080220eng
dc.identifier.oclc691307495eng
dc.identifier.urihttps://hdl.handle.net/10355/9535
dc.identifier.urihttps://doi.org/10.32469/10355/9535eng
dc.languageEnglisheng
dc.publisherUniversity of Missouri--Columbiaeng
dc.relation.ispartofcommunityUniversity of Missouri--Columbia. Graduate School. Theses and Dissertationseng
dc.rightsAccess is limited to the campuses of the University of Missouri.eng
dc.sourceSubmitted by University of Missouri--Columbia Graduate School.eng
dc.subjectpagina strappataeng
dc.subject.lcshTrompe l'oeil paintingeng
dc.subject.lcshRelief (Art)eng
dc.titleThe torn page : fashioning identity through Venetian incunabular ornamenteng
dc.typeThesiseng
thesis.degree.disciplineArt history and archaeology (MU)eng
thesis.degree.grantorUniversity of Missouri--Columbiaeng
thesis.degree.levelMasterseng
thesis.degree.nameM.A.eng


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