Description: This presentation is part of the faculty lecture series UNT Speaks Out on Coming Home. The author discusses methods and findings from a project she participated in related to how veterans narrated their their experiences through art. Her component of the study evaluated participants and described what they gained through creating arts and crafts.

Description: This presentation includes images that accompany research analyzing the influence of royal patronage and liberal ideas on the artwork of celebrated Spanish artist, Francisco de Goya y Lucientes, in the context of the socio-political evolution of Spanish society during the eighteenth century, including the Bourbon Reforms and the influx of Enlightenment philosophy.

Description: This presentation accompanies a paper with research on Francisco de Goya and his use of mirrors. The author argues that the Spanish painter, Francisco de Goya (1746-1828), used mirrors to symbolize the harmonization of the subject with its true self throughout his work.

Description: This presentation discusses research on Francisco de Goya. The author argues that the iconography and allegories found within medieval bestiaries influenced certain prints depicting human, animal, and hybrid figures within Francisco de Goya's (1746-1838) series 'Los Caprichos'. However, in contrast to the medieval bestiary, which employs animal symbolism for morally didactic purposes, Goya reworks the composition of bestial allegories in order to enlighten the viewer on the immortality that is innate, universal, and destructive.

Description: This presentation accompanies a paper discussing research on the absence of Mary Magdalene in the Santa Maria Basilica in Trastevere, Rome. Though the region of Trastevere, Rome, was known for prostitution, there is a gap in research discussing medieval Christian art and how prostitution influenced religious art within the walls of the Santa Maria Basilica. This basilica is dedicated to the Virgin Mary, the only female depicted in the entirety of the church's art. By avoiding images of other women saints such as Mary Magdalene and visually emphasizing the Madonna in the church, the décor suggests an intentional device to promote the church's philosophy against the ability to save a soul after prostitution. This absence of Mary Magdalene is significant due to the shift in attitude toward the prostitute initially from an inhumane class status to the main focus in the church. This presentation discusses research on examining the social context of Rome in this era, the status of prostitute, the neighborhood of Trastevere, and the entrance of promiscuity in the Santa Maria Basilica.