2) Tactility and the representation or evocation of touch permeates several of Caravaggio’s surviving paintings. Selecting one work by the artist as your focus, analyze and contextualize this preoccupation among his output. There are several avenues here: how, for example, does tactility interplay with religious subject matter? Alternatively, how might the representation of touch comment upon the artist’s broader pursuit of naturalism and/or comment upon the nature of painting itself?

3) Almost unknown beyond active scholars of Bernini, Gianlorenzo Bernini’s paired sculptures entitled Anima beata (Blessed Soul) and Anima Dannata (Damned Soul) remain two of his most compelling works. Students seduced by these statues have many avenues of entry: the statues may be analyzed and contextualized against the pursuit of emotional extremes as a fundamental Baroque aesthetic; against selected works from Bernini’s oeuvre; or position themselves with or against scholarship that seeks to reposition the statues as mythological subjects (i.e. a nymph and satyr, stripped of Christian content altogether).

4) Analyze and contextualize Gianlorenzo Bernini’s 1621 bust of Pope Gregory XV, currently preserved in the Art Gallery of Ontario, against other portrait busts, Papal or otherwise, created throughout his career.

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