Monica Romanach

Monica Romanach
Mentor: Dr. Joyce Tsai
College of Fine Arts
 
"I became involved in research because I wanted to dig deeper into the history behind the Fin de Siècle movement from an art historian perspective. My research focuses specifically on Gustav Klimt’s artistic process, and extends to the philosophy, architecture, and music of the time. I am interested in the historical figures of this era, especially those involved in the Viennese Secession. I hope to glean from this research an understanding of Klimt’s female rendering techniques and how styles from the past converged into works like Judith (1901) and Tod und Leben (1910-1915). In the summer of 2013, I plan on visiting Vienna, locating me near the Leopold Museum and the Belvedere, along with several other museums that held numerous exhibitions celebrating Klimt’s 150th birthday in 2012. Under Dr. Tsai’s guidance, I hope to compile a more detailed study on this generation."
 

Major

Art History

Minor

Business Administration, Philosophy

Research Interests

  • Modern Art
  • Fin de Siècle
  • Viennese Secession

Academic Awards

  • Dean's List
  • University Scholars Program

Organizations

  • Drummer for Campus Crusade for Christ
  • Vice-President for Pre-Dental American Student Dental Association (Pre-Dental ASDA)

Volunteer

  • Florida Crew, Varsity Women's Coxswain
  • Sport Clubs Council, President
  • Art History Association
  • Gallery Guide, Harn Museum of Art

Hobbies and Interests

  • Rowing
  • Reading
  • Running

Research Description

Klimt’s Coup: From Enlightened Secession to Cultural Revolution
Gustav Klimt is heralded by his contemporaries as a leader of the Viennese Secession, as is seen by his hundreds of paintings and sketches left behind. His female portraits confuse the viewer; although the gold leaf décor and expressive facial features seem to glorify the adorned sitter, they are positioned through a constricting male gaze, their success indebted to sexual undertones. But to truly gauge what Klimt felt about the female form, one must study his studio tactics and original charcoal gestures. The relationship between the models’ poses and his strategic execution remains intriguing, potentially alluding to the evolving gender roles of that era. More should be said about the vital hinge of time that connects the Neoclassical, known past with the outspoken, exotic Modernist.