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Mina, Gianna Antonia. "Studies in Marian imagery : Servite spirituality and the art of Siena (c. 1261- c. 1328)." Thesis, Courtauld Institute of Art (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261093.
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Condon, Thomas John Jr. "Everyday Haunting." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1325.
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This document outlines a journey of self-exploration, discovery, construction and destruction. It is a story of learning, a testament to impermanence, and a proposal for possibility. The words and work contained in this document are exclusive to the thoughts and actions of one man that hopes to share with others.
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Wilson, Christopher Thomas John. "The dissemination of visions of the otherworld in England and northern France c.1150-c.1321." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4018.
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This thesis examines the dissemination of visions of the otherworld in the long thirteenth century (c.1150-1321) by analysing the work of one enthusiast for such visions, Helinand of Froidmont, and studying the later transmission of three, contrasting accounts: the vision of the monk of Eynsham (c.1196), the vision of St. Fursa (c.656) and the vision of Gunthelm (s.xiiex). It relies on a close reading and comparison of different versions of these visions as they appear in exempla collections, religious miscellanies, history chronicles and sermons. In considering the process of redaction, it corrects two imbalances in the recent scholarship: a focus on searching for, then discussing ‘authorial’ versions of the narratives and a tendency among students of literature to treat visions of the otherworld as an independent sub-genre, prefiguring Dante’s later masterpiece. Instead, by looking at the different responses of a number of authors and compilers to visions of the otherworld, this thesis shows how they interacted with other elements of religious culture. On one hand it reveals how all medieval editors altered the narratives that they inherited to fit the needs and rules of genre. These rules had an important influence on how visions were spread and received by different audiences. On the other, it explains how individual authors demonstrated personal or communal theological and political motivation for altering visions. In doing so, it notes a divergence in the way that older monastic communities and travelling preachers responded to the stories. By explaining these variations, this study uncovers a range of complex reactions to trends in thirteenth-century eschatology (particularly the development of the doctrine of Purgatory) and how they interacted with wider religious concerns such as pastoral care. Finally, it shows how an examination of the pattern of a vision’s dissemination can lead to a re-consideration of the earlier texts themselves and the religious milieu from which they emerged.
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Srivastava, Ashok Kumar. "Disintegration of North Indian Hindu states, C. 1175-1320 A. D. /." Gorakhpur [India] : New Delhi : Purvanchal Prakashan ; Distributed by D. K. publisher's distributors, 1990. http://catalogue.bnf.fr/ark:/12148/cb35748299g.
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Geddes, Helen Louise. "The marble altarpiece in Italy C. 1330 - C. 1420." Thesis, University of Warwick, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367964.
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Christoforaki, Ioanna. "Patronage, art and society in Lusignan Cyprus, c.1192-c.1489." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365598.
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Haynes, Clare. "Pictures and Popery : religious art in England c. 1680-c. 1760." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365024.
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During the first half of the `long' eighteenth century the English were, as a nation, vehemently anti-Catholic, yet the art that was most admired, collected and talked about, was Catholic in origin and subject matter (pictures showing the intercession of saints or the figure of God, for example). Such art might have been rejected by English collectors, certainly idolatry was chief among the heresies ascribed to the Papists, but the belief in the supremacy of Italian art was long-standing and tenacious in pan-European culture. The thesis demonstrates that rather than rejecting it, elaborate strategies were developed which allowed the cultural and social value of ownership and knowledge of this canonical art to accrue, whilst managing its potentially troubling content. For example, the royal ownership of the Raphael Cartoons (c. 1514) was a matter of increasing national pride during this period, which is surprising at first sight, given their provenance and their celebration of the apostolic succession of the Papacy from SS Peter and Paul. These meanings were not expunged from the Cartoons by English commentators, instead means were found to transpose them into a Protestant register and to maintain Raphael's reputation as the great universal artist. Each chapter of the thesis offers a different mode of address to the central theme, exploring, for example, the encounters grand tourists had with canonical art in Catholic churches in Rome and the ways in which the Catholic meanings of pictures were managed in a collection. In another chapter I explore how art was used and discussed within the Church of England. It has become clear that the Catholic associations of art did present a historically-significant political challenge to English connoisseurs and that, for example, new histories and theories of art, modified from their continental models, were developed to facilitate its acceptance. In addition, by paying careful attention to the ways in which issues of class, nationhood and culture were managed in relation to this problem, insights into the complex nature of anti-Catholicism in England have been gained.
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Butterworth, Annetta Judith Helen. "The depiction of deformity in Italian art, c.1450 to c.1600." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415271.
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Hamling, Tara. "Narrative and figurative imagery in the English domestic interior, c.1558-c.1640." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268689.
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Quiviger, François. "Aspects of the criticism and exegesis of Italian art c.1540-c.1600." Thesis, University of London, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251841.
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Michael, Georgia. "Imaging divinity : the 'invisible' Godhead in early Christian art c.300-c.730." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7318/.
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Representations of the Holy Trinity have increasingly come under scrutiny, exposing two competing paradigms at opposite ends of the theological spectrum: the legitimacy and the illegitimacy of imaging the Triune God with focus on the invisible Father who was imaged as an individual from Late Antiquity and beyond. An overview of these two conflicting views has unveiled a number of inconsistencies in how the Early Christian iconography of God the Father and the Trinity has been interpreted. This thesis provides a unique re-evaluation of the surviving Trinitarian visual material between c.300 to c.730. Primarily, this study collates pictorial evidence preserved in the mediums of sarcophagi, catacomb frescoes, mosaics, illuminated manuscripts and an icon that depicts Divinity. It proceeds to critique modern misconceptions of the identity, form, meaning, function and reception of the depictions. The thesis traces the visual shift amid overt and covert images of Divinity by decoding important artworks such as the Ashburnham Pentateuch and the Codex Amiatinus; Christians visualised explicitly the ' invisibility' of God but created an unprecedented invention, the depiction of the Father through Christ's image. The innovative depiction heralded future visual formulas of Divinity echoing the complexities of Trinitarian material culture of the Mediterranean world.
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Scragg, Rebbecca Elizabeth. "Consuming Contemporary Art : London c.1914-1923." Thesis, University of Nottingham, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518727.
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Caffrey, Paul. "Irish portrait miniatures c. 1700-1830." Thesis, Southampton Solent University, 1995. http://ssudl.solent.ac.uk/2420/.
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This thesis is the first comprehensive study of miniature portrait painting in Ireland during the period c. 17-- to 1830. The thesis includes a critical bibliography, a survey of the primary sources and a discussion of the visual sources and collections that are the focus of the study. The techniques used in miniature painting provide a starting point for this analysis of portraits painted on enamel and ivory. This examination of miniature portraiture emphasises the distinction between the two different types of miniature, the ornamental portrait as jewellery and objects of personal adornment and the cabinet miniature. The display of miniature portraits as decorative pictures, viewed within the context of interior architecture and design provides a focus for the chapter on cabinet miniatures. The Irish portrait miniatures in the collection of the National Gallery of Ireland are catalogues in full for the first time. This collection provides the material for the stylistic and technical analysis in teh thesis. Comparative work is drawn from public and private collections in Ireland, England and America. The thesis documents the work of over 180 miniaturists active in Ireland in the eighteenth and early nineteenth centuries. The thesis presents new material on the miniaturists and their work which shows the contribution of the miniaturist to the development of portraiture, water colour painting and the decorative arts in Ireland.
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Coombs, Bryony Jane. "'Distantia Jungit' : Scots patronage of the visual arts in France, c.1445 - c.1545." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/11726.
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This thesis examines interest in the visual arts by patrons of Scottish descent, active in France, c.1445 to c.1545: the Monypenny family, Bérault and Robert Stuart d'Aubigny, and John Stuart, Duke of Albany. During this period the Auld Alliance played a key role in relations between Scotland and France, and large numbers of Scots travelled to France as mercenaries, scholars, and diplomats. Many relocated to France permanently and were granted letters of naturalisation. This thesis argues that an examination of the visual arts commissioned by this group of patrons enhances our understanding of the integration of Scots into French society at this time. It explores how the visual arts reflected, and were used to advance their careers, social standing, and spheres of influence, broaching issues of identity and power relations. The investigation explores how artistic patronage was a vital method by which a patron could express his social identity and aspirations. Examining patronage enables the historian to acquire a greater understanding of the patron's priorities and ambitions, and allows the art historian to situate works of art in a historical framework, thus gaining a clearer understanding of their meanings. This research is important as it covers a large corpus of works that, although linked by the unusual circumstances of their patrons, have not previously been studied together. As the artistic patronage of Scots in France during this period has hitherto not been examined, it cannot be assumed that the same priorities and influences that shaped French patrons during this period also shaped the patronage examined in this study. This thesis demonstrates that in many instances the Scottish heritage of these patrons was instrumental in shaping their demands, and thus the finished work of art. The study of the patronage of the visual arts in France has become a vibrant area of research. Yet the patronage of non-native communities, such as Scots in France, remains largely unstudied. This thesis shows that there is a rich diversity of visual material, both extant and documented, which may be associated with these Scots. Furthermore, it demonstrates how examining a patrons career may provide interesting insights into their works of art; and it shows how discovering biographical details about the patrons permits a more complete reconstruction of the circumstances in which works of art were made, displayed, and understood. Whilst comparatively little visual material survives in Scotland from this period, an examination of the visual arts commissioned by Scots in France tells us a great deal about Scots' relationships to the arts at this time, and their use of works of art as a means of 'self fashioning'. This research has uncovered exciting new information regarding all patrons investigated. Furthermore, it has identified Bremond Domat, a previously unrecognised artist working for John Stuart, Duke of Albany, to whom a small, but important, body of work may unambiguously be attributed.
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Lock, L. E. "Flemish sculpture art and manufacture c. 1600-1750." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1444314/.
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This thesis attempts to shed light on the creative and production processes in a field that has recently been termed "the greatest unknown story in the history of Western European art" (Jeffrey Muller, 2006). In the context of 17th-century Antwerpen solely being appreciated for three great painters (Rubens, Van Dyck, Jordaens) and its sculpture always being "explained" as copying Bernini's and Algardi's Italian models, it is not surprising that this field has been neglected. In fact, its study has been minimal since World War II. And until then documentary identification and attribution were the only preoccupations of its historians. For the purposes of the thesis, Flemish sculpture will roughly be taken as that produced in the former Southern Netherlands, at first under Spanish, then under Austrian dominion (excluding independent Liege), and investigated in the time from Rubens's return to Antwerpen in 1608 to the end of its heyday by the middle of the eighteenth century. Thus within this huge field, of which an estimated 25,000 to 30,000 sculptures and sculptors' drawings have survived, the present study takes a different methodological approach. Using well-documented cases and especially those cases for which three or more different stages in the design and production are extant (preparatory drawing, preparatory terracotta model and the work as executed in wood or marble), it analyses in a necessarily empirical and exemplary way the workings of the sculpture production: the commissioning process the project from the drawn sketch to the finished model the manufacture from the raw materials to the delivery. To a certain extent, this thesis uses the methodology of the seminal study by Jennifer Montagu, Roman Baroque Sculpture, The Industry of Art (1989). However, around this skeleton, certain complementary situations are also investigated, in particular the effects of collaborations between sculptors and an architect, a painter, a painter-architect or a cabinet maker. The study concludes with a discussion of the social standing of Low Countries sculptors and their trade between art and manufacture.
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Cardarelli, Sandra. "Siena and its contado : art, iconography and patronage in the diocese of Grosseto from c.1380 to c.1480." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=167749.
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This study examines the artistic output in the diocese of Grosseto, which was part of Sienese controlled territories in Medieval and Renaissance times, and sheds light on the artists who worked there, the works that they produced, the purpose of these works and the way that these were shaped by local patrons, popular beliefs and long- standing traditions. It encompasses a period in the history of Siena that starts in c. 1380 with the political turmoil that followed the fall of the government of the Nine in 1355, and ends in c. 1480, around the time of Pandolfo Petrucci’s exile from the city. A contextualized overview of the activity of artists from Siena and beyond, such as Matteo di Giovanni, Sassetta, Vecchietta Francesco di Giorgio, Giovanni da Ponte and Andrea Guardi in the diocese of Grosseto is provided by means of visual examination and new documentary evidence. Relevant case studies offer a new perspective on the development of local visual imagery, the style and iconography of panel paintings, sculptures and fresco cycles and how these related to local devotional practices and patronage. The study shows that the development of independent taste in commissioning and acquiring artworks transcended geographical boundaries and political influence, and that original developments took place alongside the imitation of imported models. This research contributes to a new understanding of the relationship between Siena and Grosseto and proposes that notwithstanding Sienese influence, other cultural models were available, and that these were adapted to suit local requirements. A thorough investigation of local patronage establishes that this involved civic, religious and lay sources and that these shaped civic rituals and devotional responses to the cult of patron saints. It brings to light a vivid, yet complex image whereby all the realms of society interacted and benefitted from cultural exchange.
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Maitre, Antoine. "Etude fonctionnelle de la partie carboxy-terminale de la sous-unité Tau131 du facteur de transcription TFIIIC chez Saccharomyces cerevisiae." Paris 7, 2004. http://www.theses.fr/2004PA077123.
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Martinovski, Vladimir. "Les musées imaginaires : C. Baudelaire, W. C. Williams, S. Janevski, V. Urosevic, J. Ashbery et Y. Bonnefoy /." Paris : l'Harmattan, 2009. http://catalogue.bnf.fr/ark:/12148/cb41468078d.
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Texte remanié de: Thèse de doctorat--Littérature générale et comparée--Paris 3, 2007. Titre de soutenance : Aspects de la poésie ekphrastique : C. Baudelaire, "les Fleurs du mal", W. C. Williams, "Tableaux d'après Bruegel", S. Janevski, "Palette maudite", V. Urosevic, "Pays invisible", J. Ashbery, "Autoportrait dans un miroir convexe" et Y. Bonnefoy, "Ce qui fut sans lumière.Contient des extraits de poèmes en anglais et leur trad. française. En appendice, choix de poèmes en macédonien non traduits. Bibliogr. p. 235-253.
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O'Rourke, Karen. "La Représentation de la femme dans les textes juifs et paléochrétiens 167 av. J. -C. -135 ap. J. -C." Paris 1, 1985. http://www.theses.fr/1985PA01A013.
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Eaton, Natasha Jane. "Imaging Empire : the trafficking of art and aesthetics in British India c.1772 to c.1795." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/34755/.
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This dissertation explores the complex entanglements of an artistic traffic between two distinct 'visual economies' in eastern India, c.1772-c.1795. Both late Mughal and early colonial cultures were undergoing transformation, to the extent that during this era the nascent colonial artistic diaspora collapsed. Three inter-related areas will be interrogated: the prestation and commercial circulation of imagery between London, Calcutta and Murshidabad, the dichotomies of political and aesthetic spheres, and colonial representations of late Mughal culture as embroiled by such frameworks. Chapter one examines India-painted subjects in a metropolitan aesthetic sphere, thus acting as crucial juxtaposition for the refiguration of British art in Calcutta, which is the subject of the following section. Hastings' regime wielded British art as part of an intensely spectacular colonial governmentality, but his successor Cornwallis, took a tougher line with devastating effect. A diversity of competing, derivative idioms ousted professional colonial painting forever; its artistic schema penetrated to 'grass-roots' level through the creation of a 'Company School' which transposed the practice of the patua caste. Chapters five to seven investigate nawabi perceptions of British imagery. Hastings introduced the gifting of large-scale portraits; artefacts ill-suited to Indian interiors and aesthetic interiority - perhaps not even viewed as 'art'. The final chapter, through representations of the nawabs of Murshidabad and Lucknow, traces the evolution of British pictures as accoutrements of Mughal sovereignty. By 1795 both courts possessed permanent if 'hybrid' expositions of colonial imagery which transgressed established Indian and British classifications, as well as indicating more profound redefinitions of Indian comportment, consumption and taste. The intersection of 'visual economies' by way of an exploration of diverse zones of transculturation and processes of translation, provides a vital lens for recovering Indian and British agency - both elite and subaltern, in the oft-uneasy formation of a colonial aesthetic forum.
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Hunt, John Dixon. "Lordship and the landscape : a documentary and archaeological study of the Honor of Dudley c. 1066-1322 /." Oxford : BAR, 1997. http://catalogue.bnf.fr/ark:/12148/cb36993200w.
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Mayhew, J. "English Godly Art of Dying manuals, c. 1590-1625." Thesis, Oxford Brookes University, 2007. http://radar.brookes.ac.uk/radar/items/905a59a7-4b26-6a24-374f-e71748df926c/1.
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Five examples of English Art of Dying literature from the period 1590-1625 are examined in this thesis. The rhetorical strategies of these texts are explored in detail, to demonstrate the means by which an activity, of death preparation, and a concept, of 'good' or 'godly' dying, are invented and made compelling to readers. An introductory chapter discusses the problems of classifying works in the Art of Dying genre, and the limitations of a strictly historical mode of analysis. Reasons are given for the decision to use rhetorical theory as a central analytical framework. The first chapter examines an exemplary deathbed narrative. Stubbes' portrayal of his dying wife in A Christal Glasse (1591) helps to establish a Protestant discipline of 'godly' dying, which combines elements of exemplary martyrdom with an older tradition of diabolic deathbed drama. The mirror image of Stubbes' title indicates that godly Art of Dying literature is intended to be used for self-reflection and imitation. In the central three chapters, the Art of Dying is considered as a godly regimen, created and conducted through printed manuals. Godly divines William Perkins, Nicholas Byfield and Samuel Crooke use various rhetorical methods to incite, regulate and suppress readers' emotions regarding the prospect of death. A final chapter returns to the use of personal examples in death preparation literature. Ward's Faith in Death (1622) collates the dying words of martyrs from Foxe's Acts and Monuments to invite readers' active contemplation of their own deaths. With 'lively' rhetoric, this text narrows the gap between celebrated and ordinary believers. It presents godly dying as an energetic, vocal, demonstrative act of testimony. In conclusion, the thesis finds that godly Art of Dying literature directs the way readers imagine death and so prompts active, emotional and behavioural responses.
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Joyner, Paul W. "A place for a Poussin : a study of art and artists in Wales c.1750-c.1850." Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306448.
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Platts, Hannah Frances Mary Landsbrough. "Art, architecture and landscape in 'villa' residences of Italy from c. 1st B.C. to c. 2nd A.D." Thesis, University of Bristol, 2006. http://hdl.handle.net/1983/5b1fc526-6934-4796-9dbb-72b0fadbf67e.
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Stevens, Anthea. "Sine macula sunt : the Holy Innocents and their portrayal in Italian art c. 1200 to c. 1500." Thesis, Courtauld Institute of Art (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540536.
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Vernon, Clare Mary. "Visual culture in Norman Puglia c.1030-1130." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708775.
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Haidar, Navina Najat. "The Kishangarh school of painting, c.1680-1850." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319068.
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Wood, Rachel K. L. "After the Achaemenids : exchange, transmission and transformation in the visual culture of Babylonia, Iran and Bactria c.330-c.100 BC." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0fc15b6c-0436-4d17-81d3-31f69b77313e.
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This thesis examines the art of Babylonia, Iran and Bactria after the Macedonian conquest, from c.330 to c.100 BC, in light of current developments in archaeological theory of cultural interaction. In order to illustrate the character and scale of these interactions, the thesis presents a discussion of iconographic material ranging from architectural ornament and sculpture to minor arts. Chapters II-IV discuss the material from each site, highlighting regional characteristics and differences between media. Chapters V-VII use three cross-sections to examine cultural interaction visible in material used for different social functions (‘spheres’). The ‘sphere of gods’ discusses religious architectural ornament and iconography, and the implications for our interpretation of cult in Babylonia, Iran and Bactria in this period. The ‘sphere of kings’ considers ruler representation and the physical appearance of ‘royal space’ while the ‘sphere of citizens and subjects’ discusses material made and used by the wider populace. Macedonian rule and the influx of settlers to Babylonia, Iran and Bactria developed networks of exchange, transmission and transformation creating ‘visually multi-lingual’ societies. The adoption of new artistic influences did not replace all existing traditions or necessarily infringe ethnic identities. There was selective adoption and adaptation of iconography, styles and forms to suit the new patrons and contexts. This cultural co-existence included some combinations of features from different artistic traditions into individual compositions, emphasising how visual languages were not closed-off, rigidly defined or static. Patrons were not confined to using the visual language associated with their ethnicity or current location. There was flexibility of use and meaning, which may present a useful model in the study of other areas of cultural interaction in the Hellenistic period.
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Edis, Jonathan David. "The Totternhoe School of Masons, c.1567-c.1618 : a Midland stone-carving workshop producing funerary monuments in the Dutch style." Thesis, De Montfort University, 2000. http://hdl.handle.net/2086/5848.
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Schaar, Elisa Frederica. "Deja-vu : the 'forerunners' of appropriation art c. 1964-1974." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567919.
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This historiographical thesis charts an aspect of the complex transition from pop to later appropriation art associated with the 1980s by examining forerunners of appropriation in the period from the emergence of pop's logic of serial repetition to the beginnings of 'pictures' in the mid- to late 1970s and their places in the relevant art-historical narratives. In view ofthe fact that the principal genealogies of appropriation have been conceptualist ones, this thesis reappraises the role of pop by considering readyrnade imagery, image.multiplication and the participatory aspects of Andy Warhol's Factory production in particular as enabling conditions for early appropriators Elaine Sturtevant and Richard Pettibone, who applied pop's serial logic to pop imagery itself and who marked out its divergent implications in the process. While I interpret Pettibone's pursuit of pop's simulacral aspects as a form of nostalgic prolonging related to photorealism and liken his small-scale, carefully crafted copies to souvenirs, I conceive of Sturtevant's performative practice of repetition as a way of abbreviating processes of production and of her works as conceptualist catalysts. If carrying forward pop's logic of serial repetition in neither case amounted to a systematic critique of modernist originality, the fictitious artist Hank: Herron, who was the subject of a hoax review in an anthology of conceptual art and who could appear modelled on Sturtevant specifically, entered the stage readily theorized in a way that anticipated the poststructuralist discourse of the copy and thus signalled a point of transition in the narratives. I propose that Sturtevant's practice of repetition still had a critical edge and show how its recent rediscovery was ironically channelled through a European reception context in which the initial closeness of her practice to pop did not compromise its perceived critical import. If the notion of 'appropriation' is commonly associated with the 'pictures generation' and if the deconstructive capacity of 'pictures' has been secured in the literature by way of reference to a conceptualist lineage conceived predominantly in terms of institutional critique, this thesis broadens the narratives by inserting precedents starting from pop.
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Bahr, Megan Granda. "Transferring values : Albert C. Barnes, work and the work of art /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/fullcit?p9936964.
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Oulié, Elena. "L'aspective sur la céramique attique du VIIIème siècle av.J.-C au premier quart du VIème siècle avant J.-C." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20035.
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Dans le cadre du programme de renouvellement des approches en histoire de l’art grec mis en place dans l’équipe de recherche PLH-CRATA, je me suis engagée dans une thèse sur « L’aspective sur la céramique attique du VIIIe siècle av. J.-C. au premier quart du VIe siècle avant J.-C. ».Ce concept, élaboré par les égyptologues, désigne une construction de l’image qui n’est pas régis par le procédé de la perspective. Les différentes techniques de représentation en perspective ont toutes pour buts de représenter la vue d’objets en trois dimensions sur une surface donnée, en tenant compte des effets de l’éloignement et de leur position dans l’espace par rapport à l’observateur. Les Grecs nous ont légué leur vision perspective avec des figures conçues depuis un seul endroit en un seul moment. Toutefois, ce mode de représentation ne s’est mis en place que très progressivement, entre la fin du VIe siècle et le milieu du Ve siècle. Avant cette période, l’art de nombreuses cultures est régi par les principes de l’aspective. Cette notion associe plusieurs points de vue dans la représentation d’un même personnage. Elle peut aussi regrouper plusieurs moments d’une même histoire dans une image unique. L’artisan représente les parties comme si chacune d’entre-elles était isolée, s’affranchissant du regard subjectif de l’observateur. Il y a bien dans l’art archaïque grec une aspective. Il faut en déceler la présence, mais aussi en dégager les spécificités. C’est à cette tâche que je me consacre, dans une thèse conçue avec des gros plans sur certaines périodes clés. Les résultats sont particulièrement étonnants, puisqu’ils mettent en évidence, dans l’art géométrique, une présence plus marquée des procédés perspectifs qu’au VIIe et VIe siècle, au sein d’une image construite, par ailleurs, selon des procédés aspectifs. Les résultats montrent ainsi que, dès le départ, les deux conceptions de l’espace graphique connaissaient des interpénétrationsAs part of the renewal program study of history of Greek art developed in the research team PLH-CRATA, I am carrying out a thesis entitled : « The aspectivity in attic vase-painting : 900 – 575 ».This concept, elaborated by Egyptologists, refers to the construction of the image in graphic spaces which are not governed by perspective. Aspectivity is a close but distinct notion of what Waldemar Deonna called "primitivism". The perspective vision is the one that is natural for us. All the different techniques of perspective representation have in common the intention of representing the view of objects in three dimensions on a given space. They take into account the effects of the distance and the position in space with respect to the observer. The Greeks bequeathed us their perspective vision with figures conceived from a single place in a single moment. This representation is at the origin of the spatial and temporal unity. However, this mode of representation only took place very gradually between the end of the 6th century and the middle of the 5th century.Before this period, the art of many cultures is governed by the aspective principles. This notion, belonging to semiology, associates several points of view in the representation of the same character, whereas in natural vision we have only one. The aspective can also group together several moments of the same story in a single image, which can be read in one moment. The artist represents the parts as if each of them was isolated, as an enumeration of the various characteristics of the subject, freeing themselves from the subjective gaze of the observer placed in a certain place. The works do not seek to show a representation in time and space, but to show what must be, even if the events are not linked in time. The image becomes more a construction than a representation.There is, in Greek archaic art, as in the Egyptian and Near Eastern arts, an aspective. It is necessary to detect its presence, but also to identify its specificities. It is to this task that I dedicate myself, in a thesis conceived with close-ups on certain important periods. The results are particularly surprising, since they show, in the art of the Geometric period, a stronger presence of perspective processes that in the seventh and early sixth century BC. J.-C. within an image constructed otherwise by aspective processes. The results thus show that, from the start, the two conceptions of graphic space know some interpenetrations
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Pandi, Diamantina. "Approches systémiques dans le dessin c. 1965-1975." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100014.
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Ce projet de thèse vise à explorer les réalisations artistiques ainsi que les approches critiques et théoriques du concept complexe de « système » en lien avec les transformations du dessin entre 1965 et 1975. Le discours autour de la notion de « système » prévaut dans le monde de l’après-guerre, notamment dans les années 1960 et 1970. L’ « esthétique des systèmes » telle que théorisée par le critique d’art Jack Burnham dans son article « Systems Aesthetics » publié dans Artforum en 1968, qui signale la transition radicale d’une culture orientée vers les objets vers une culture orientée vers les systèmes, constitue notre point de départ. Nous examinons la notion du système en essayant de mettre en lumière les interconnexions entre les théories de l'information et des systèmes, le modèle cybernétique, le « tournant linguistique » dans la période 1965-1975. Au cours de cette période, le dessin devient un champ privilégié pour le développement des méthodologies systémiques. A travers les cas de onze artistes, Sol LeWitt, Mel Bochner, Hanne Darboven, Dorothea Rockburne, Robert Morris, Alighiero Boetti, John Latham, Bernar Venet, Lee Lozano, Stanley Brouwn et William Anastasi, nous examinons les expérimentations artistiques autour de « systèmes de dessins » : des systèmes linguistiques et arithmétiques, des systèmes auto-poïétiques, ainsi que des stratégies systémiques se déroulant dans le contexte spatiotemporel. En se focalisant sur l’hétérogénéité et la diversification de ces pratiques, nous analysons les traductions formelles et conceptuelles du dessin qui manifestent l’autonomisation et la reconceptualisation de ce medium durant la période examinéeThis thesis aims at exploring the artistic realizations as well as the critical and theoretical approaches of the complex and multidimensional concept of "system" in relation to the transformation of drawing between 1965 and 1975. The discourse around the notion of “system” prevails the post-war world, especially in the 1960s and 1970s. The aesthetics of systems, as theorized by art critic Jack Burnham in his article “Systems Aesthetics” published at the Artforum in 1968- which signals the radical transition from an object-oriented culture to a systems-oriented culture - is the starting point of this thesis. We examine the notion of the system by attempting to highlight the interconnections between information and systems theories, the cybernetic model, the “linguistic turn” and its implications for the development of conceptual artistic practices in the period 1965-1975. In this period, drawing became a privileged field for the development of systemic methodologies. Through the cases of eleven artists, Sol LeWitt, Mel Bochner, Hanne Darboven, Dorothea Rockburne, Robert Morris, Alighiero Boetti, John Latham, Bernar Venet, Lee Lozano, Stanley Brouwn and William Anastasi, this thesis examines the artistic experimentation on “systems of drawings”: linguistic and arithmetic systems of diagrammatic order, autopoietic systems, as well as systemic strategies that take place in the spatiotemporal context. By focusing on the heterogeneity, the diversification and the hybridization of these practices, the thesis analyzes the formal and conceptual translations of the drawing which demand the autonomisation and the reconceptualisation of this medium in the period that we examine
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Sunderason, S. "The nation and the everyday : the aesthetics and politics of modern art in India Bengal, c.1920-c.1960." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355959/.
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This thesis studies the practices and the polemics that structured the mid-twentieth century ‘field’ of modern art in India, as it registered shifts away from mythological classicism to new artistic imperatives of the everyday, the popular and the progressive. Concentrating on Bengal, this study follows the new agenda and anxieties around ‘formal’ autonomy and ‘social’ resonance of art that developed during the transitional decades of high nationalism, decolonisation and postcolonial nation-building in South Asia between the 1920s and the late-1950s. I argue that artists and art discourse in Bengal during this historical conjuncture invoked tropes of contextuality, habitation and socio-political experience in art-production, reinforcing the sensibility of realism within artistic modernism, of the everyday within modernist abstraction, and the locational within the national. Two themes map this mid-century ‘social turn’ in visual art: the first concentrates on institutional sites like the Government School of Art in Calcutta and the Kala Bhavan at Santiniketan, to follow the shifting registers of the ‘national-modern’ aesthetic, both in the elimination and re-figuration of orientalist classicism by new values of composition and contemporaneity, as well as in the pro-Gandhian rhetoric of the ‘local’ and the ‘popular’ that dominated cultural discourse during the interwar period. The second theme studies the left-wing intervention in formulating a socially-committed, politically conscious notion of ‘progressive’ art since the late-1930s. Resonating with anti-fascist cultural activism of the Popular Front period, and increasingly dominated by the Communist left, the progressive rhetoric became the site for ideological conflict between realism and modernism in the 1940s, with contesting values of socialist idealism and formalist progress of art. I close with the recurrence of the social as metaphor in postcolonial art production in Calcutta in the 1950s-60s, as the city negotiated both marginal location within the nation’s modernity and a persisting memory of post-partition trauma.
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Cardarelli, Sandra. "Siena and its contado : art, inconography and patronage in the diocese of Grosseto from c.1380 to c.1480." Thesis, University of Aberdeen, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542860.
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This study examines the artistic output in the diocese of Grosseto, which was part of the Sienese controlled territories in Medieval and Renaissance times, and sheds light on the artists who worked there, the works they produced, the purpose of these works and the way these were shaped by local patrons, popular beliefs and long-standing traditions. It encompasses a period in the history of Siena that starts in c.1380 with the political turmoil that followed the fall of the government of the Nine in 1355, and ends in c.1480, around the time of Pandolfo Petrucci’s exile from the city. A contextualised overview of the activity of artists from Siena and beyond, such as Matteo di Giovanni, Sassetta, Vecchietta Francesco di Giorgio, Giovanni da Ponte and Andrea Guardi in the diocese of Grosseto is provided by means of visual examination and new documentary evidence. Relevant case studies offer a new perspective on the development of local visual imagery, the style and iconography of panel paintings, sculptures and fresco cycles and how these related to local devotional practices and patronage. The study shows that the development of independent taste in commissioning and acquiring artworks transcended geographical boundaries and political influence, and that original developments took place alongside the imitation of imported models. This research contributes to a new understanding of the relationship between Siena and Grosseto and proposes that notwithstanding Sienese influence, other cultural models were available, and that these were adapted to suit local requirements. A thorough investigation of local patronage establishes that this involved civic, religious and lay sources and that these shaped civic rituals and devotional responses to the cult of patron saints. It brings to light a vivid, yet complex image whereby all the realms of society interacted and benefited from cultural exchange.
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Blake, Marie E. "Archaeology of a Female Landowner c 1768-1832." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625870.
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Pastel, Em. "Liminal legacies in Bohemia: Czech underground culture c. 1968-1989." Thesis, Boston University, 2006. https://hdl.handle.net/2144/27740.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.
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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
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Ceron-Pena, Maria Mercedes. "Defective perceptions : vision as consumption in Spanish art, c. 1766-1794." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1445354/.
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This thesis explores how the image of 'the people' was constructed in Spanish visual culture between 1766 and 1794. The argument begins considering the problem that the representation of the people posed for the Spanish government in the aftermath of the 1766 revolts. The first chapter studies the relation between bureaucratic and medical projects to know and to control the population and parallel attempts to depict the people who gathered in public spaces in Francisco Goya's tapestry cartoons. In the second chapter, the depiction of 'the people' in the views of Cantabrian ports painted by Luis Paret in the 1780s is examined in connection with the imported idea of 'the picturesque' and with the definition of an ideal observer. Chapters three and four focus on the explanations of the act of perception whose knowledge was valued by eighteenth-century Spanish theoreticians as an essential requirement of the ideal spectator. Chapter three also contemplates the ways in which anxieties concerning the increasing visibility of women in the public sphere conditioned the notion of the ideal observer. The role of women as both consumers and spectators prompted a redefinition of perception in which the primacy of sight was asserted. In this chapter, manifestations of occularcentrism are assessed in regard of the theories on perception associated with sensationalism, with which they co existed. Chapter four explores the role that optical instruments and medical treatises on perception had in Spanish visual culture during this period. In the last chapter, the adoption of new techniques by Spanish painters and printmakers is presented as contributing to the redefinition of the 'natural style' characteristic of the Spanish school. Spanish theoreticians' defence of naturalism was not only a matter of identity, but also the means of marketing Spanish commodities. The economic and symbolic role of this form of 'naturalism' helped relocate the visual arts within the enlightened project and within contemporary debates on luxury and consumption.
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Shaw, G. "Sights of battle, art and war in Britain, c.1885-1919." Thesis, University of Nottingham, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489696.
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This study examines paintings of battle produced in Britain between c.1885 and 1919, drawing for examples on works produced for exhibition at . the Royal Academy, in private galleries and under the official artists' schemes during the First World War. Much of the material examined in this study has received little previous art historical attention; in particular, paintings produced between 1902 and 1919 by artists active in the military genre from the nineteenth century are considered. The primary focus is upon how war was pictorialised; conventions in iconography and narrative constructions are identified and explored, as are the difficulties faced by nurtists in representing the subject of battle. Central to this is how the technology of war and the nature of battle developed across the period, and what pictorial strategies were adopted in response. Across most of the prriod past conflicts prevailed as the dominant subject, and representations ttf historical as well as contemporary battles are included in this analysis. The relationship between the practice of battle painting and the illustrated press was important; this will be examined in detail. Connected to this is the criterion of witness authority, which is shown to be problematic. Images of battle functioned in the construction of the wider memory of war; how this opprntrd pictorially and through display is examined, especially across the dimpn810ns of public or private, regional or national and civilian or military.
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Brennan, Michael N. "The structure of interlace in insular art c. AD 400-1200." Thesis, Bangor University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548607.
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Blanco, Piñol Enric. "Quaderns Kodak, d’E.-C. Ricart: edició i estudi." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/666140.
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Quaderns Kodak és el nom amb què es coneix el diari íntim del pintor i gravador Enric- Cristòfol Ricart (Vilanova i la Geltrú, 1893-1960), redactat entre el 1920 i el 1956, el qual, fins ara, ha vist la llum només molt fragmentàriament. Aquesta tesi doctoral n’és una edició anotada, precedida de l’estudi corresponent, on s’assaja una lectura global i literària del text
—no només historicoartística, doncs—, atenta als mecanismes de representació del jo i als pactes de lectura i d’escriptura que s’hi segellen. Efectivament, els Quaderns Kodak es poden entendre com una crònica de l’art català coetani de Ricart, d’una banda, i com a acte performatiu, de l’altra, susceptible de ser llegit des de la literatura. A banda d’un document més o menys històric, doncs, es tracta de l’espai de la figuració d’un jo complex, canviant, que es rellegeix, amb una mirada penetrant i irònica sobre les coses, en una posició fronterera quant als gèneres i quant a la mateixa literatura. El diari s’alimenta d’una poètica explícita que molts cops nega la possibilitat de servir-se’n, segons una idea de la literatura com a artifici i segons un projecte d’escriptura —una màscara— “natural” i autodirigida. En qualsevol cas, aquesta poètica explícita és el revers d’una altra poètica, implícita, que emana de la mateixa textualitat; com es provarà de demostrar, ambudes són inalienablement literàries. L’estudi vol explotar, justament, aquesta lectura literària dels Quaderns Kodak, tot estudiant-ne les relacions arxitextuals i inserint-los en el panorama del diarisme català, cosa que la poca bibliografia que se n’ocupa no ha fet, o només molt parcialment.
L’edició, ortografiada, materialitzada segons uns criteris filològics ad hoc, s’acompanya d’una anotació profusa, que explora la dimensió documental, referencial, del diari. Se n’ofereix una edició íntegra, completada amb un índex onomàstic. L’anotació dialoga amb la lectura de la dimensió performativa esbossada a l’estudi; junts, l’edició —amb l’anotació— i l’estudi aspiren a oferir una anàlisi global dels Quaderns Kodak, deutora de les propostes d’una bibliografia àmplia, que iŀlumini, alhora, la prototipicitat i la singularitat de la pràctica diarística de Ricart.Quaderns Kodak is the name given to the intimate diary of Enric-Cristòfol Ricart (Vilanova i la Geltrú, 1893-1960), painter and engraver, written between 1920 and 1956, which has been published only partially. This doctoral thesis offers an edition of the diary, preceded by its corresponding study, where a global, literary reading is outlined —therefore not only a historical and artistic reading. The study pays attention to the mechanisms of representation of the self, and it also pays attention to its reading and writing pacts. Certainly, the Quaderns Kodak can be read as a chronicle of Catalan contemporary art and as a writing practice which can be read from literature. Thus, apart from a historical document, they are the space for the figuration of a changing, complex self, who rereads himself, with an ironic, penetrating look on things, in a border position regarding genres and literature itself. The diary is nourished by explicit poetics which quite often deny the possibility of using them, according to an idea that considers literature an artifice, and according to a “natural” and self-addressed writing project. Simultaneously, the implicit poetics, just as the textuality itself, are inherently literary. The study aims to exploit this literary interpretation of the Quaderns Kodak, incorporating them to the Catalan diary scene, something often neglected by the bibliography on this diary. The edition, which transcribes the original manuscript with a standard orthography, follows explicit, philological criteria. The text is completed with an abundant annotation; it explores the documental dimension of the diary. The manuscript is transcribed in its integrity, and it is completed with an index of proper names. The annotation echoes the performative dimension of the diary outlined in the study; as a whole, the edition, the annotation and the study share the aim of offering a global analysis of the Quaderns Kodak, also by studying its connection with the architext and with the Catalan diary practice. The study is in debt to a broad bibliography, which should light up, at the same time, the prototypicality and the singularity of Ricart’s diary.
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Leoussi, Athena S. "Images of Greeks in British and French art, c.1833-1880 : physical anthropology, art and society." Thesis, London School of Economics and Political Science (University of London), 1992. http://etheses.lse.ac.uk/1263/.
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The aim of this study is to measure the extent of the 'Greek revivals' in official British and French artistic practice during the second half of the nineteenth century and to explore their links with different parts of their social context. To this end I concentrate on the works of art illustrating aspects of Greek culture and life, both ancient and modern, which were exhibited at the Royal Academy and the Salon between 1833 and 1880. I study their numbers, themes and dates, and examine the role in these 'Greek revivals' of developments both inside and outside the sphere of art. I consider the following circumstances: firstly, the importation into Western Europe of naturalist Pheidian art, secondly, the development of certain 'scientific' ideas about the ancient Greek body in its connexion with the cultural and political achievements of the ancient Greeks through the development of Physical Anthropology, and, thirdly, the expansion of positivism in other spheres of life. The adoption of 'scientific' solutions, including the idea of race, to certain social problems introduced ancient Greek values and practices regarding the body into the aesthetic, religious, national and political conceptions and institutions of British and French societies. The fact that certain new elements of ancient Greek culture and institutions became, in the course of the nineteenth-century, an important component of British and French conceptions and institutions of national identity, nation-building, religious salvation or self-realisation and political life, justifies us in understanding British and French works of art on ancient Greek subjects as so many screens on which actual social ideals and institutions were projected. This cultural significance of the ancient Greeks also explains British and French artists' orientation towards the representation of both Greek subjects in general and of particular elements of ancient Greek culture and institutions in particular, as well as the expansion of the use of the Pheidian figural type to illustrate these themes. Finally, it justifies a distinction among works on Greek subjects into three main and overlapping categories: mythology; Greeks in general and ancient Greek athletes; and ancient Greek male political mythological and historical personages or 'heroes'.
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Williamson, Beth. "The Madonna of Humility : development, dissemination & reception, c.1340-1400 /." Woodbridge : The Boydell Press, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9781843834199.
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Wössner, Barbara. "Die Deutschlandklausel im EG-Beihilfenrecht (Art. 87 Abs. 2 lit. c EGV)." Hamburg : Kovač, 2001. http://www.gbv.de/dms/spk/sbb/recht/toc/327655992.pdf.
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Nead, Lynda Daryll. "Representation and regulation : women and sexuality in English art c. 1840-1870." Thesis, University College London (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369506.
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Wilson, Sarah Georgina. "Art and the politics of the Left in France, c 1935-1955." Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284230.
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Tebbs, Charles. "The art of ending : closure in European instrumental music c.1900-1970." Thesis, University of Southampton, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270687.
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Tolley, Rebecca. "Review of Art Full Text." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5640.
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Nuttall, Paula. "Early Netherlandish painting in Florence : acquisition, ownership and influence c.1435-1500." Thesis, University of London, 1989. http://books.google.com/books?id=AurVAAAAMAAJ.
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