University of Pittsburgh Library System

The ancient Greco-Roman world still remains a vital part of our cultural zeitgeist in the modern era and this is perhaps nowhere better exemplified than in the comic books of the 20th century, like those held in the Hillman archives comic collection. In the visual elements of these comics, ancient ideas and themes reemerge and are implemented by modern storytellers to suit their own purposes. The choice of costuming, poses, and even hair colors are all very intentional in how they are presented. Modern comic artists use these ancient figures and ideas that are easily recognizable, even on a subconscious level, to convey themes like nationalism and to advertise various products. To study this point, I looked at dozens of different comic issues from a wide time spectrum, noting how certain elements changed or stayed consistent across eras and artists. I then compiled my research in an Omeka site, exhibiting both comic designs and their ancient counterparts to best showcase how these modern comics draw on ancient ideas. The ancient Greeks and Romans were masters of using their mythologies to justify national pride and cultural dominance and so it only makes sense that superheroes, modern mythic figures, continue this trend. Wonder Woman takes the favorable parts of being an Amazon, a fierce female warrior that can inspire new generations of women as feminism evolves, but disregards their warlike nature and savagery in the eyes of the ancient Greeks. Hercules is a figure of unmatched strength and courage, which comic creators will love to emphasize, all while sweeping away his past of rape and murder with careful costuming changes. Ancient ideas and heroes are incredibly useful and marketable, as has been shown time and time again, they just have to be carefully showcased in the correct context.

In recent history, the concept of death and dying has become an extremely uncomfortable topic of discussion for a majority of the population, however, in the past such discomfort was not nearly as commonplace. Throughout the Middle Ages and the Renaissance, the subject of death was unavoidable, and to the faithful all across Europe, having a proper death described by the rules of the Christian faith was of utmost importance. With everyone hoping to one day go to Heaven, manuscripts such as the Cologne Office of the Dead were created, intended to guide monks and other religious figures in prayer for the deceased and set them on route to their preferred afterlife. Originally created in 1487 and used for services until 1802, the Office of the Dead utilized in this project gives us a glimpse into how death and mortality was viewed by the most faithful of European society. In my research, I examined how focusing on the way in which such a manuscript was created can craft a narrative for modern day scholars to understand that death was by no means a taboo subject in earlier history. Like many manuscripts, the Cologne Office of the Dead is written entirely in Latin, and to combat this challenge, I took to looking at details such as the materials and methods used to create it, as well as the clear evidence of handling as the main focal point of my project. In doing so, I aimed to paint a clearer picture of the importance that death and dying held in early European society, and shed light on a topic that is often avoided in the modern era.

Flood water management approaches used in Pittsburgh over time.

Materiality in relation to identity to exhibit-making.

Donald E. Gordon (1931-1984) was a German Expressionist art historian and professor at the University of Pittsburgh. During his career, he published several books and essays about modern art and expressionism, especially regarding Ernst Ludwig Kirchner. Along with Thomas Maythem of the Boston Fine Arts Museum and James Demetrion of the Pasadena Art Museum (now the Norton Simon Museum), Gordon was the main advocate and planner for a 1968-1969 exhibition of Kirchner’s artwork - the first touring exhibit of his work in the United States. With the financial support of the German government, the over 100 artworks displayed made a significant impact with art critics, cultural connoisseurs, and the public. But how did this exhibit build Kirchner’s, and more broadly German Expressionism’s, reputation in America? Involving one of the trailblazers in German Expressionism - Gordon - in the development of the Kirchner exhibit was undoubtedly a wise choice. By having a forward-facing academic figure as one of the main proponents of the exhibit, the public is more likely to have a positive reaction to it. Moreover, the selection of Kirchner over other German artists is a tempting choice, especially for the German government. Since Kirchner passed away before the start of World War II, he is “innocent” from the negative perception that Americans had of Germany. Combining Kirchner’s distance from the war, Gordon’s expertise in the field, and an eccentric yet influential selection of museums for the exhibit, a star - Kirchner - was born in America.