Adam discusses the presence of the sciapod within medieval illustrations, examining it in light of St. Augustine’s views on the subject of monstrous races in The City of God and Camille’s modern view of marginal illustrations.

Parsa examines Annibale Carracci’s ceiling frescoes in Palazzo Farnese and argues for a reworking of Gian Pietro Bellori’s Neoplatonic interpretation of early Carracci biographers through the lens of Socrates’ so-called Ladder of Love from Plato’s Symposium.

Adam examines the perceptual relationships between color depictions in the Pre-Raphaelite movement and in the Technicolor and Eastmancolor forms of early color film, focusing on the experiential and the desire to depict the true.

Analyzing how the techniques used in the earliest cave paintings reveal insights into human creative development and form the foundation for later artistic expression.

Can beards convey sociopolitical narratives? Brady analyzes the Renaissance popes’ adoption of facial hair (or lack thereof) as a means to channel the spirit of the Roman emperors.

The many visual elements of Camille Pissarro’s Field and Mill at Osny (located in the RISD Museum) express the conflicts present between humanity and nature during the Industrial Revolution at the end of the nineteenth century.