Academic literature on the topic 'Art de la Renaissance – Thèmes, motifs'
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Journal articles on the topic "Art de la Renaissance – Thèmes, motifs"
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Hage, Ingebjørg. "Renessansehagen – utforming og hagekunstneriske motiver." Nordlit 15, no. 1 (June 1, 2011): 1. http://dx.doi.org/10.7557/13.1803.
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The focus of this article is the gardens of the Italian Renaissance, their main motifs of garden art and how these motifs spread through Europe during the centuries. Motifs from the garden art of Firenze and Rome in the fifteenth and the sixteenth centuries were established in France, England and the German speaking countries during the sixteenth and seventeenth centuries, and in Norway during the seventeenth. These gardens started among the Italian aristocracy, but as the gardens and garden motifs went north they were also adopted by the less well to do classes. Still during the twentieth century small parterre gardens with the same lay-out as in the Italian Renaissance could be found in small scale farm gardens in marginal parts of Europe - for example in Norway, Germany and Switzerland. Single garden motifs survived during the centuries, and they were performed in local materials, but the garden concept from the Italian Renaissance had disappeared.
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Gracheva, Svetlana. "Renaissance Motifs in Pictorial Art of Contemporary St. Petersburg Academists." Actual Problems of Theory and History of Art 6 (2016): 706–14. http://dx.doi.org/10.18688/aa166-9-77.
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Hansen, Maria Fabricius. "Motivstudier. Kontinuitet og fornyelse i ornamentale hybridformer fra antikken til ca. 1600." K&K - Kultur og Klasse 45, no. 123 (August 28, 2017): 109–34. http://dx.doi.org/10.7146/kok.v45i123.96832.
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Representations of hybrids of human figures, plants, and animals were prolific in all media in sixteenth-century Italian art. The motif is known back from Greek and Roman antiquity, both in poetry and visual art, which the artists of the sixteenth century – or the renaissance – claimed to revive. Yet the representations of hybrids from these two periods within the history of art differ remarkably. And at the same time they belong to an iconographic tradition that did not disappear in the medieval period, an observation which blurs the picture of these ornaments as rediscovered and revived in the renaissance. How then do motifs such as foliate heads or other phyto- or zoomorph creatures develop in visual art from antiquity to ca. 1600? The topological method can be applied to a tracking of these motifs over time in order to stress continuity and analyze the transformations which took place through the centuries. This article reflects on some methodological and historiographical aspects of studies of motifs in art history. In a double-sided strategy it both aims at challenging the persistent notion of the renaissance as a period rejecting the middle ages and reviving antiquity (i.e. it stresses the continuity of the sixteenth century with the preceding centuries); and it suggest some characteristics of the visual paradigm of sixteenth-century Italian art (i.e. it describes some of the innovations of the period).
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Churkina, D. A. "The breviary of Ercole I d’Este and the classical tradition in Ferrara illumination of the end 15th – the beginning 16th century." Journal of the Belarusian State University. History, no. 2 (April 30, 2019): 96–104. http://dx.doi.org/10.33581/2520-6338-2019-2-96-104.
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The article presents one of the masterpieces of Renaissance Ferrara illumination – the Breviary of Ercole I d’Este (1502–1505). This manuscript was created during the active development of printing, and this fact underlines its special status and importance for the customer, and also demonstrates the stability of artistic traditions at the Ferrara court. At the same period – the first years of the 16th century – the artistic language of the Early Renaissance was changed for completely different traditions of the High Renaissance art. First of all, it was expressed in the leading role of classical motifs. The Breviary of Ercole I demonstrates the development of the classical tradition in Ferrara illumination. The article presents the manuscript in the context of the court culture of Renaissance Ferrara, providing the stylistic and iconographic analysis of the manuscript decor. The creation of the Breviary of Ercole I reflected the identity of his customer, Duke Ercole I d’Este, who contributed to the development of the humanistic culture in Ferrara. At the same time, Ercole I was a very religious man, and his personal religiosity became an important virtue of a ruler. Matteo da Milano, a representative of the Lombard school of book illumination, characterized by the classical ornamental decoration, created the most impressive elements of the manuscript decor. Besides him, there were other artists to decorate the Breviary, but their miniatures are more connected with the 15th century local tradition. In the art of Ferrara, the classical tradition took part of the «politics of magnificence». The abundance of classical motifs in this manuscript, thus, could be the goal of the customer who wished to glorify himself in this special way.
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Simonds, Peggy Muñoz. "Sacred and Sexual Motifs in All's Well That Ends Well*." Renaissance Quarterly 42, no. 1 (1989): 33–59. http://dx.doi.org/10.2307/2861916.
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Whatever scholars may think of its value as a work of poetic literature, Shakespeare's All's Well That Ends Well is remarkably entertaining in the theater. Perhaps this is so because it fulfills the fundamental generic responsibility of comedy; it overcomes the death of the fathers through a bawdy emphasis on youthful sexuality and love, and it manipulates mythical plot elements that are subconsciously familiar to any audience in Western civilization. The play skillfully diverts our attention from death and burial to the “little death” of sexual orgasm, from age, illness, and the destruction of war to marriage and the joy of new life. Above all, it is not so much a “problem play” in the Shavian sense as it is a typical work of Renaissance comic art that attempts to unite both the physical and the spiritual elements of human existence within a single structure of the imagination.
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Biryulov, Yuri. "NEW JEWISH STYLE IN LVIV ARCHITECTURE: THE HISTORIC TRANSFORMATION IN THE URBAN SPACE." Architecture and Engineering 5, no. 4 (2020): 18–27. http://dx.doi.org/10.23968/2500-0055-2020-5-4-18-27.
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Introduction: The phenomenon of expressing national identity in architecture is manifested in many countries and cities. In this article, it is considered in the context of Lviv with the main focus on Jewish architects. Purpose of the study: We are planning to study the process of the emergence of a new Jewish style in the architecture of Lviv from the mid-19th century to the first decades of the 20th century in the context of urban development, and consider the formation of a characteristic art language, together with the corresponding symbolic elements of décor. Methods: We use a comprehensive art approach, which involves the method of systematization for material processing, comparison and synthesis. In the course of the study, we applied comparative analysis, as well as elements of systematic analysis of the Jewish architecture evolution. Results and discussion: We conclude that the architects used several strategies and theories to express Jewish cultural identity in their works, in particular, neo-romantic transformations of medieval, Renaissance and Oriental architecture, rethinking in the spirit of Art Nouveau of the Neo-Moorish style, incorporation of old regional architecture motifs, applying decor saturated with Jewish symbols.
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BALBUZA, Katarzyna. "TRAVIS DURDEN, MYTHS AND IDOLS. GWIEZDNE WOJNY W ARTYSTYCZNYM ENTOURAGE’U." Historia@Teoria 1, no. 7 (June 27, 2019): 19–35. http://dx.doi.org/10.14746/ht.2018.7.1.02.
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The project Myths and Idols, by the French photographer Travis Durden, came into being in 2015 by means of digital technology. The artist processed photos of nine selected modern sculptures, mostly related to ancient matters, in order to provide them with the attributes or heads belonging to the heroes of the famous Star Wars saga. The sculptures chosen by Durden for his project had been created by European artists (French sculptors and one Italian master) and they are exclusively of an early modern provenance (arising from the Renaissance, Classicism, and Neoclassicism). Not a single work of ancient art is included. However, the classical (ancient) art itself became an object of the Parisian sculptor’s interest in terms of taking early modern art into account as the artists of the latter patterned themselves on ancient samples and picked up ancient subject matters. Likewise, Star Wars in turn constitutes a product of the American pop- culture frequently referring to motifs which had originated in ancient culture. The article discusses all nine photo collages and the whole project is being interpreted. Myths and Idols offers an example of the double reception of ancient culture – the early modern and contemporary ones.
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Michalak, Hubert. "Transmisje pamięci." Pamiętnik Teatralny 68, no. 3-4 (December 20, 2019): 213–33. http://dx.doi.org/10.36744/pt.14.
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The paper is dedicated to Powiedz, że jestem… (“Tell me that I am…”), one of the last productions directed by Jan Dorman (The State Drama Theatre in Wałbrzych, prem. June 16, 1985). It addresses the issue of memory, linking it to the theme of hiding Jews during World War II. Both these motifs were firmly inscribed in the production, and they referred to a fresh and almost unrecognized issue on Polish stages at the time of the premiere. By addressing the issue of various media of memory and several models of its stage representation, the text attempts to reconstruct both the director’s concept and the artistic shape of the production. And by pointing out the most important departures from Dorman’s previous art practices, it sketches the evolution of Dorman’s concept of his art. Invoking subsequent realisations of the director’s staging concept and the theme of The Jewish “Renaissance” Theatre operating in Wałbrzych (unknown to artists), as contexts, expands the issue of memory in the theatre through including multilateral, performative, functioning of this particular staging.
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Yaylenko, E. V. "Portal to the Past: Depiction of Space in the Book Miniatures in the Renaissance Venice." Observatory of Culture 15, no. 3 (August 19, 2018): 309–20. http://dx.doi.org/10.25281/2072-3156-2018-15-3-309-320.
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This article investigates the painted miniatures of manuscripts and early printed books of the second half of the 15th century performed in the art workshops of the Renaissance Venice and Padua. The author determines the main development stages of the principles of space depicting in the picturesque design of manuscripts and printed books. The relevance of study of this topic is caused by the fact that it has been on the periphery of research attention for a long time, obscured by other historical and artistic problems. The scientifi c novelty of the research revealed the new principles of constructing spatial composition and formation of new typology of landscape in Venetian art. For the main research method, the author uses the formal-style analysis and structural analysis. It demonstrates how simultaneously with the change of the sheet decoration structure there appeared the new opportunities for the placement of spatial composition. At an early stage, the manuscript sheet decoration consisted of the depiction of painted architecture treated in the guise of triumphal arch or classical altar with inscription, which gradually has been getting form of imaginary façade with ornaments and fragments of text upon it (the so-called architectural frontispiece type). The next faze consists in the emergence of natural motifs near it and its progressive development in the form of autonomous landscape, which one can see in the works of leading Venetian illuminator in the time circa 1500 Benedetto Bordon. The author investigated the basic types of manuscript decoration that included the depiction of landscape as well as its basic iconographical formulae. The signifi cance of the study lies in that fact which helps to explore the new sources of Venetian mythological painting, going back to the stylistic features and compositional principles of the Late Quattrocento miniature.
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Van Den Boogert, C. "Habsburgs imperialisme en de verspreiding van renaissancevormen in de Nederlanden: de vensters van Michiel Coxcie in de Sint-Goedele te Brussel." Oud Holland - Quarterly for Dutch Art History 106, no. 2 (1992): 57–80. http://dx.doi.org/10.1163/187501792x00082.
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AbstractThe introduction and diffusion of Italian Renaissance forms in sixteenth-century Netherlandish art has usually been described as a process initiated by artists who travelled south, adopted the new style and reaped success after their return to the Netherlands. In giving full credit to the artists and considering this phcnomenon to be a process of artistic exchange in the modern sense, art historians have wrongly disregarded the historical circumstances that caused patrons' preference for the new style. The earliest use of Renaissance forms in the Low Countries on a large scale may be observed in the triumphal decorations of the 1515 Joyeuse Entrée of Charles of Hapsburg, the future emperor, in the town of Bruges. From that moment on, Renaissance forms were used abundantly in objects which served as a kind of propaganda for Hapsburg policy, such as church windows and chimney-pieces glorifying Charles v and the Hapsburg dynasty. Antique motifs fitted well in the imperialist visual language favoured by the Hapsburg dynasty and the Dutch nobles who supported its power politics. Derived from imperial Roman monuments, these forms unequivocally alluded to the absolute power of the ancient ancestors of the Holy Roman Emperor, thus legitimizing his authority. In the author's opinion this functional aspect is one of the main reasons for the ready acceptance and diffusion of the Renaissance style in the Low Countries. One of the first artists to travel from the Netherlands to Italy was the painter Michiel Coxcie (Malines 1499-1592). He stayed in Rome from about 1530 to 1538, painting several frescoes in Roman churches which brought him recognition among Italian colleagues. Only one example has survived: the fresco cycle in the chapel of St. Barbara in S. Maria dell'Anima, which he painted between 1532 and 1534. His mastery of the 'maniera italiana', which is evident in these paintings, is highly praised by Vasari, who met Coxcie in Rome in 1532. Vasari also states that Coxcie transferred the 'maniera italiana' to the Netherlands. Upon his return to Malines in 1539, Coxcie received several prestigious commissions, of which perhaps the most outstanding was to paint cartoons for the stained glass windows in the church of St. Gudule in Brussels, with its decoration of triumphal arches glorifying the Hapsburg dynasty. His ability to work in the high Renaissance style gained him the favour of Charles v and his sister, Mary of Hungary, governess of the Netherlands, who engaged him as a court painter. In the said series of Brussels windows, a remarkable change of style regarding the use of Renaissance forms is to be observed after Coxcie started supplying the cartoons in 1541. The windows completed between 1537 and 1540 had been made under the supervision of Bernard van Orley, allegedly Coxcie's teacher. They were rendered in an early Renaissance style characterized by the hybrid Italianate motifs that were in fashion during the 1520S and 1530s. Upon Orley's death in 1541, Coxcie was appointed his successor as cartoon painter for St. Gudule. The first window for which he was responsible, the window of John III of Portugal in the Chapel of the Holy Sacrament, exhibits a distinct caesura: the architectural decoration is high Renaissance in the Vitruvian or Serlian sense and the human faces and postures are derived directly from the examples of Raphael, Leonardo and Michelangelo. After careful perusal of the documents concerning the production of the windows and study of the stylistic differences between the windows made before and after 1541 (and the related preparatory drawings), one cannot but conclude that Michiel Coxcie was the initiator of the use of the high Renaissance style in the Brussels windows. Hitherto Bernard van Orley has been credited for this, on the assumption that he designed the whole cycle, including all its ornamental details and stylistic features. Although his contribution to the diffusion of the high Renaissance style in Netherlandish art was decisive, Michiel Coxcie's return to the Low Countries should not be regarded as the principal incentive for this process. The general predilection for this style to be found after 1540 could be a consequence of the impressive presence of Charles v and his retinue in the Netherlands during that year. The emperor, who came to quell the Ghent resurrection against the central government, brought with him the style that had been used in the triumphal decorations which accompanied his entries to Italian towns during the 1530S. The influence exercised on prevailing taste by the ephemeral monuments erected on the occasion of imperial entries must have been considerable, as the Brussels windows clearly show.
Dissertations / Theses on the topic "Art de la Renaissance – Thèmes, motifs"
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Badet, Muriel. "L'enlèvement : les mouvements du désir : ses représentations dans l'art occidental, de la Renaissance au XXe siècle." Paris, EHESS, 2002. http://www.theses.fr/2002EHES0075.
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L'analyse se fixe sur un vaste choix d'œuvres et de textes littéraires ; ils constituent le corpus de départ. Leur confrontation permet d'étudier les enjeux de la représentation de l'enlèvement. Sans objectif chronologique, mais orientant le choix sur les enlèvements amoureux, la première interrogation se porte sur l'étymologie du terme " enlèvement " et ses diverses acceptions – du rapt (proche du viol) au ravissement (voisin de l'extase mystique). Se dégage une série d'actions comme emporter, soulever, déplacer. Les bouleversements et les élans antinomiques du désir sont figurés par la dynamique de l'enlèvement. Lorsqu'il est passion, l'enlèvement propose des images de traques amoureuses, de fièvres bestiales ; lorsqu'il est stratégies, la représentation arrête le mouvement et se concentre sur la présence de complices ou sur des signes permettant de déceler le piège dans lequel va tomber la victime. Par ailleurs, il apparaît, avec les exemples d'hommes enlevés par des femmes, que le désir est subit plutôt que décidé. La position de domination s'inverse pour celle de dominée. L'enleveur ne semble pas avoir d'autre alternative que de s'emparer du corps convoité. De même, bien plus que la mobilité, l'immobilité devient l'indice de l'émotion. Cette essentielle combinaison de la volonté et de l'apathie touche l'enlevée lorsqu'elle choisit de se laisser enlever. L'inertie figure le consentement et va jusqu'à l'image du ravissement où le corps est terrassé, où l'âme se pâme et s'envole dans une expression d'infinie jouissance. Déplaçant l'analyse vers la pratique sociale, nous constatons que si les enlèvements sont réprimés, les représentations articulent malgré tout l'imaginaire et la symbolique érotique du thème aux lois des alliances matrimoniales, à des discours panégyriques ou hégémoniquesThis study is based on a wide range of works and texts which provide the starting point. Their comparison allows to study the stakes of abduction representation. There is no chronological objective, but choosing the love abductions, the first question refers to the etymology of the term “abduction” and its various meanings, from rape to rapture. A whole series of actions follow such as to take away, to lift up, to move. The disruptions and contradictory impulses of desire are represented by the dynamic of abduction. When there is passion, the image used are those of amorous pursuit, brutal fevers; when it is strategic, the representation changes, and concentrates on the presence of accomplices or signs indicating the trap into which the victim will fall. The movement is stopped. In the examples of men abducted by women it would appear that desire is suffered rather than voluntary. The position of domination is reversed for the dominated. The only choice left to the abductor is to grabe the object of desire. At the same time, inertia rather than activity is the emotion's signal. The main combined of power and apathy affect the woman when she has decided to be abducted. The apathy represents and agreement and leads to the abduction, where the body is overwhelmed and where the soul swoons and flys away with a feeling of unlimited pleasure. Moving the study to the social experience, we notice that if abductions are punished, their representations mix the erotic symbol of the subject with the wedding rules, and with panegyric or hegemonic speeches
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Vuilleumier, Laurens Florence. "La raison des figures symboliques à la Renaissance et à l'âge classique : études sur les fondements philosophiques, théologiques et rhétoriques de l'image." Paris 4, 1996. http://www.theses.fr/1996PA040216.
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Ambitionnant de mettre au jour les fondements philologiques, philosophiques, théologiques et rhétoriques de l'image au XVIIe siècle. L'auteur s'est efforcée d'écrire l'histoire, manquante à ce jour, de la réception des "symboles" de Pythagore depuis la traduction des vies des philosophes de Diogène Laërce par Ambrogio Traversari, analysant ainsi les contributions des générations successives d'humanistes (Alberti, Ficin, Politien, Pic, suivis par Nesi, Reuchlin et Steuco) qui en dégagent progressivement les multiples implications. L'époque suivante voit l'intégration, autour des "symboles" proprement dits, des autres formes symboliques, tant anciennes (proverbe, énigme, hiéroglyphe) que nouvelles (emblème). Erasme, GiraldI, Caussin, chacun à sa façon, travaillent à souligner l'unité du nouveau monde symbolique, mais nul plus que Claude Mignault, à travers l'histoire compliquée, étudiée ici pour la première fois, des accroissements successifs du Syntagma de Symbolis. Au seuil du XVIIe siècle l'influence de Pythagore, déjà rapproché de la tradition chrétienne et hébraïque, est largement relayée par celle de Denys l'aréopagite, inspirateur direct de la théologie symbolique et la théologie mystique de Maximilian van der Sandt. Un chapitre sur la signification liturgique du voile du temple couronnant cette troisième partie, restait à montrer comment les grandes rhétoriques de la deuxième moitié du siècle codifient le nouveau langage des images : Masen pour l'image visuelle et graphique, Tesauro pour la métaphore, âme du discours, et enfin Menestrier pour les décorations des fêtes et des cérémonies funèbres. L'ambition déclarée par ce dernier, d'écrire une "philosophie des formes symboliques", même si elle ne fut jamais réaliséeIn order to point out the philological, philosophical, theological and rhetorical basis of XVIIth cent. Imagery, the author had first to write the still now missing history of the reception of Pythagoras' symbols from the beginning of the renaissance. Stressing the contribution of successive generations of humanists: Traversari, Alberti, Ficino, Poliziano, Pico, Nesi, Reuchlin, Steuco. . . The following period was marqued by the integration, around the symbola themselves, of other symbolic figures, as well ancient, such as the proverb, the enigma and the hieroglyphic, as modern, such as the emblem and the device. Erasmus, Giraldi and Caussin have thus contributed, each in his own way, to reinforce the unity of the new symbolic world. But nobody more than Claude Mignault, through the very intricate story of his Alciati's editions and evolution of his famous Syntagma de Symbolis. At the beginning of the XVIIth c. , the Pythagorean model is reinforced if not replaced by Dionysius areopagita, whose work inspires altogether the symbolic theology and the mystic theology of the Jesuit father Maximilian van der Sandt, whose pious approach legitimates a special chapter devoted to the uelum templi considered as the allegory of allegory, the last part of the book would show how the great rhetoricques of the second half of XVIIth century succeeded in analyzing and codifying the new language: Jacob Masen for the visual and graphic image, Emanuele Tesauro for the metaphora and Menestrier for the festive and funeral decorations of ephemeral baroque
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Gérard-Marchant, Laurence. "Couleurs, parures, costumes : reflets dans l'oeil du peintre, renaissance et résurgences, interrogations historiques et propositions plastiques personnelles." Paris 1, 1989. http://www.theses.fr/1989PA010586.
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L'étude des lois somptuaires promulguées à plusieurs reprises à Florence au quattrocento, la lecture de l'œuvre de Sacchetti, ou celle déjà de Dante, montre comment le luxe textile, tout en contribuant très largement à l'essor économique de la cité, a pu être l'objet de méfiance et de condamnations. Toutefois, un examen attentif des textes théoriques de Durer ou de Léonard de Vinci prouve que l'étoffe restait un outil l'étude des lois somptuaires promulguées a plusieurs reprises à florence au quattrocento, la lecture de l'œuvre de Sacchetti, ou celle déjà de Dante, montrent comment le luxe textile, tout en contribuant très largement à l'essor économique de la cité, a pu être l'objet de méfiance et de condamnations. Toutefois, un examen attentif des textes théoriques de Durer ou de Léonard de Vinci prouve que l'étoffe restait un outil précieux pour penser la couleur, tout au long de la renaissance. Des Giotto, la représentation des étoffes se voit imposer des limites pour des raisons de cohérence figurative. Et c'est un véritable jeu de permutations et de changement d'échelle entre d'une part, des architectures et marbres polychromes, d'autre part des étoffes bariolées qui semble s'imposer a plusieurs générations de peintres dans l'héritage précieux pour penser la couleur, tout au long de la renaissance. Des Giotto, la représentation des étoffes se voit imposer des limites pour des raisons de cohérence figurative. Et c'est un véritable jeu de permutations et de changement d'échelle entre d'une part, des architectures et marbres polychromes, d'autre part des étoffes bariolées qui semble s'imposer a plusieurs générations de peintres dans l'héritage d’Alberti, lequel est sans doute sous-estime sur ce point. C'est au contraire l'affirmation non détournée du textile comme répertoire, paradigme, et support de l'organisation de la surface picturale, que l'auteur de cette thèse essaie de réintroduire dans son propre travail plastique et cela en analysant à la fois les procèdes limitant les effets perturbants des étoffes (tels que ceux décrits plus haut), et ceux d’Alberti, lequel est sans doute sous-estime sur ce point. C'est au contraire l'affirmation non détournée du textile comme répertoire, paradigme, et support de l'organisation de la surface picturale, que l'auteur de cette thèse essaie de réintroduire dans son propre travail plastique et cela en analysant à la fois les procédés limitant les effets perturbants des étoffes (tels que ceux décrits plus haut), et ceux qui les exaltent comme dans la peinture de la fin du trecento, ou encore chez Véronèse se, ou Pontormo. Parmi les courants actuels, c'est sans doute de la "trans-avanguardia" italienne que les productions artistiques de l'auteur, attentives aux signes et traditions du passe, se rapprocheraient le plus. Qui exaltent comme dans la peinture de la fin du trecento, ou encore chez Véronèse, ou Pontormo. Parmi les courants actuels, c'est sans doute de la "trans-avanguardia" italienne que les productions artistiques de l'auteur, attentives aux signes et traditions du passe, se rapprocheraient le plus.
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Madeline, Bertrand. "Les images vivantes à la Renaissance : légendes, discours et représentations." Thesis, Paris, EHESS, 2021. http://www.theses.fr/2021EHES0007.
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Que peuvent bien avoir en commun une dague milanaise, portant l’inscription latine DANIELO ME FECIT / IN CASTELO MEILANO 1475, et un Lièvre dessiné par Albrecht Dürer en 1502 ? Comment penser ensemble un automate, comme le moine-mécanique de la Smithsonian Institution de Washington, datant de 1560-1570 et attribué à Juanelo Turriano, et une tête mutilée d’une statue d’évêque sculptée par Albrecht de Nuremberg, entre 1510 et 1520, et provenant du charnier de Berne ? Qu’est-ce qui peut rassembler : la Complainte des pauvres idoles, illustrée par Erhard Schoen vers 1530, et l’Atlas inachevé de Michel-Ange, sculpté entre 1519 et 1536 ; une image infamante et une peinture de Titien ; le sfumato chez Léonard de Vinci et une planche anatomique de la Renaissance, dans laquelle un écorché animé dévoile lui-même les mystères de sa corporis fabrica ; un encomium emphatique du discours sur l’art qui exalte l’illusion de vie d’une peinture ou d’une sculpture, et un contrepoids votif de la fin du Moyen Âge ; la personnification doublée de prosopopée que constitue l’Éloge de la Folie d’Érasme et l’effigie funéraire en cire de François Ier que Jérôme Cardan qualifiait d’imago viva ?Tous ces objets matérialisent une présence et entretiennent un lien étroit avec la question, chère à la Renaissance, de l’image vivante. À la Renaissance, l’image vivante est un objet pluriel ; elle est un problème dont il faut saisir l’épaisseur anthropologique ; elle est enfin un objet théorique, c'est-à-dire une construction susceptible de créer, comme l’écrit Giovanni Careri, « une tension féconde entre la singularité d’un objet et la généralité d’une théorie »What could a Milanese dagger bearing the Latin inscription DANIELO ME FECIT / IN CASTELO MEILANO 1475 and the Hare drawn by Albrecht Dürer in 1502 have in common? What brings together an automaton, such as the mechanical monk of the Smithsonian Institution in Washington, dated to 1560-1570 and attributed to Juanelo Turriano, and the mutilated head of a bishop’s statue sculpted by Albrecht of Nuremberg between 1510 and 1520 and discovered in a mass grave in Bern? What do the following objects share: the Complaint of the Poor Persecuted Idols, illustrated by Erhard Schoen around 1530, and the unfinished Michelangelo’s Atlas, sculpted between 1519 and 1536; a pittura infamante and a painting by Titian; Leonardo da Vinci’s sfumato and a Renaissance anatomical illustration in which an animated flayed body reveals the mysteries of its corporis fabrica; an emphatic encomium of art discourse that exalts the illusion of life in a painting or a sculpture, and a votive counterweight from the late Middle Ages; the personification and prosopopeia that are fundamental to Erasmus’s Praise of Folly and the wax funerary effigy of Francis I that Jerome Cardan described as an imago viva?All these objects materialize a presence and have a close link with the topos, dear to the Renaissance, of the living image. During the Renaissance, the living image was a multiple phenomenon, with an anthropological dimension that this dissertation seeks to elucidate. For art historians today, it is also a theoretical object, that is to say a construct that can activate, as Giovanni Careri wrote, « a fruitful tension between the singularity of an object and the generality of a theory »
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Bugini, Mariaelena. "Il significato della musica nell'opera intagliata ed intarsiata di fra' Giovanni da Verona." Tours, 2007. http://www.theses.fr/2007TOUR2008.
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La thèse comprend trois parties et un appendice. La première partie vise à dégager et à analyser les caractéristiques des instruments de musique et des partitions marquetés et sculptés par fra’ Giovanni da Verona, moine olivétain de Vérone, très doué pour le travail du bois, qui – entre la fin du XVe et le début du XVIe siècle – a été l’auteur des plus beaux choeurs monastiques de la péninsule italienne. La deuxième partie porte sur la lira da braccio du Kunsthistorisches Museum de Vienne signée par un certain “Joanes Andreas Veronensis” qu’en 1967 Emanuel Winternitz identifie avec le marqueteur olivétain Giovanni da Verona: il s’agit d’une erreur qui amène le chercheur d’aujourd’hui à s’interroger sur certains aspects négligés des rapports entre arts plastiques et musique à la Renaissance. La troisième partie est consacrée aux variations apportées par Vincenzo Dalle Vacche au style du maître fra’ Giovanni. L’appendice réunit textes et glossaires utiles aux trois parties de la thèseThe thesis is divided into three parts and one appendix. The first part is focussed on musical iconography in Giovanni da Verona’s inlays and carvings, masterpieces of the Renaissance monastic woodwork realised all over Italy between the XVth and the XVIth century. The second one analyses the apocryphal lira da braccio of the Vienna Kunsthistorisches Museum, wrongly assigned to fra’ Giovanni by Emanuel Winternitz in 1967. The third part illustrates the changements in style and meanings brought to the master’s art by his pupil fra’ Vincenzo Dalle Vacche. The appendix complete the work collecting texts and glossaries which can be useful to the comprehension of its three parts
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Franceschi-Zaharia, Catherine. "Du paysage et de ses quasivalents : le parti pris des mots." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0095.
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Depuis la découverte de l'absence d'équivalent grec et latin de paysage, la question de l'invention du paysage reste ouverte. En suspendant toute définition et idée a priori du paysage, cette question est réexaminée à partir du mot et de ses équivalents en allemand, néerlandais, anglais et italien. La reconstitution de leur premiers temps et de l'établissement de leurs équivalences met en évidence une partition selon leur registre sémantique : une série « territoriale » et une série « image ». Cette partition ne relève pas de l'étymologie, mais de l'histoire de chacun des mots. Landschaft, landschap, paese appartiennent à la série « territoriale » ; paysage, paesaggio ainsi que les équivalents anglais paisage et landskip antérieurs à landscape appartiennent à la série « image ». Les équivalences ne peuvent qu'être partielles, ce qui conduit à préférer le terme quasivalence. Néanmoins, du milieu du XVe à la fin du XVIe siècle, un lieu commun du paysage et de ses quasivalents s'affirme : celui de l'image. C'est dans ce registre que les expressions « paysage occidental » ou « paysage européen » trouvent leur pertinence. Si Dante a donné à paese son assise et son orthographe, le rôle de la perspective en peinture est bien un préalable au glissement des mots du registre territorial vers celui de l'image. L'invention du paysage en dépend. Une dizaine d'occurrences antérieures à la première attestation connue jusque-là (1549) place vingt ans plus tôt le terminus ante quem de l'invention du paysage. Leur analyse précise le rôle du paysage dans l'image. L'ensemble du travail ouvre la question de la participation de cette invention à l'émergence du monde moderne occidentalSince the discovery of the lack of a Greek or Latin equivalent for paysage (landscape), its invention remains an open question. Leaving aside any definition and a priori about paysage, this question is re-examined starting from the term and its equivalents in German. Dutch, English, and Italian. The research of their first occurrences and the setting up of their equivalents reveals a typology based on semantic registry : a "territorial" and an "image" series. This typology is not based on etymology, but relates to the historical use of each term. Landschaft, landschap, paese belong to the "territorial" series, while paysage, paesaggio, as well as their English equivalents paisage and landskip which precede landscape belong to the "image" series. The equivalence can only be limited, which is why we prefer the term quasivalence. Nevertheless, from the mid-fifteenth century to the end of the sixteenth century, a common place for the paysage and its quasivalents emerges: the image. "Western landscape" or "European landscape" find their relevance in this vein. Whilst Dante gave to paese its meaning and spelling, the role of perspective in painting was a prerequisite for the shift of the terms from the territorial to the image domain. The invention of paysage depends on it. Prior the first accepted occurrence until now (1549), there are in fact a dozen other occurrences which bring forward by twenty years the terminus ante quern of the invention of paysage. The analysis of these occurrences clarifies the connexion between paysage and image. This work is raising the question of the part played by the invention of paysage in the emergence of the modern Western world
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Petrick, Vicki-Marie. "Le corps de Marie Madeleine dans la peinture italienne du XIIIe siècle à Titien." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0087.
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Cette thèse se donne pour but de montrer la densité de significations qui informent les choix plastiques et iconographiques de la Madeleine du Palais Pitti de Titien, en l'examinant à la lumière des traditions visuelles de la Madeleine en Italie. Pour ce faire, la thèse remonte jusqu'aux codes visuels mis en place dès le XIIIe siècle. Cette étude fait apparaître les moyens par lesquels le corps de la femme peut être porteur de sens théologique, au delà du péché et de la tentation. Une première partie en établit les fondements. Un chapitre aborde l'anthropologie du corps chrétien ; un autre, la construction du personnage de Marie Madeleine et des thèmes qui lui sont associés ; un troisième étudie ses premières formulations plastiques dans le bassin méditerranéen. Une deuxième partie est consacrée aux cycles qui présentent sa Vita : le retable florentin de 1285, la chapelle de Madeleine dans la basilique d'Assise, et les chapelles de la Madeleine au Bargello et à Santa Croce à Florence. Ces chapitres font apparaître la dynamique par laquelle le spectateur se rapporte à sa figure comme un exemple de chair pécheresse convertie. Une dernière partie propose une analyse diachronique de longue durée, du XIVe au XVIe siècle, des principaux signes iconographiques qui la distingue : la couleur rouge, les cheveux, les larmes, le vase et le parfum, en accordant une attention particulière aux variations régionales, entre Toscane et Vénétie. Le chapitre final fait converger les résultats des chapitres précédents dans l'analyse de la Madeleine de Titien, qui apparaît comme un point d'aboutissement des recherches plastiques et conceptuelles menées depuis 1270The goal of this thesis is to show the density of meanings that inform the plastic and iconographic choices made by Titian for his Pitti Magdalen, examining it in light of the visual traditions of the Magdalen in Italy. To do this, the dissertation goes back to the visual codes established in the 13th century. This study brings forward the means by wich women's bodies may be bearers of theological meaning, beyond that of sin and temptation. A first part establishes the foundations. One chapter approaches the anthropology of the Christian body, another the construction of the "character" of Mary Magdalen and themes associated with her, a third stuides these first plastic formulations in the mediterranean basin. A second part is consecrated to the cycles that present her Vita : the Florentine pala of 1285, the Assisi Magdalen chapel, and the Magdalen chapels of the Bargello and Santa Croce in Florence. The chapters bring forward the dynamic in wich the spectator relates to the figure as an example of sinful flesh converted. A last part proposes a diachronical analysis, on a large temporal scale, from the fourteenth to the sixteenth centuries the principal iconographical signs that distinguishe her : the color red, the hair, the tears, the vase and the perfume, all the while giving particular attention to the regional variations between Tuscany and the Veneto. The final chapter converges the results of the first chapters in the analysis of the Titian Magdalen who appears as an end point in the plastic and conceptual research conducted since 1270
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Halleux, Élisa de. "Les figures androgynes à la Renaissance : l'ambiguïté sexuelle dans l'art et la théorie artistique au XVIe siècle." Paris 1, 2012. http://www.theses.fr/2012PA010663.
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Cette thèse a pour objet un phénomène artistique resté très largement inexploré à ce jour : la représentation de figures androgynes dans l'art de la Renaissance. Centrée sur l'art italien du Cinquecento, elle s'attache aussi à la production artistique pragoise, ainsi qu'à celle d'autres artistes nordiques et de l'école de Fontainebleau. On y voit en quoi l'homme féminin et la femme masculine sont deux incarnations, ou plutôt deux élaborations, d'une même idée : l'harmonie des contraires. Le concept clef de cette recherche est en effet celui de la concordia discors, principe fondamental s'il en est pour la pensée de l'époque. En enquêtant sur la genèse et la signification de l'androgynie, il s'agit d'engager une réflexion sur la spécificité des images. La première partie envisage des couples de figures androgynes à la lumière du motif philosophico-religieux de l'« androgynie originelle» et des conceptions néoplatoniciennes de l'amour. Elle est consacrée à des eprésentations mythologiques et à plusieurs figurations d'Adam et Ève. La seconde partie examine le fonctionnement plastique et symbolique de l'androgynie à travers des figures tant profanes que sacrées, en particulier : Cupidon, Hercule, le Christ, la Fortune. La troisième partie concerne les pratiques et les théories artistiques. Il s'agira de montrer comment l'androgynie résulte de pratiques d'imitation et de détournement des modèles antiques et contemporains; comment elle est une spécificité de l'art maniériste; et enfin comment se façonne à travers elle une certaine esthétique, qui connaît différentes déclinaisons, et est alors très présente - quoique de manière implicite - dans les traités artistiques.
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Nuyts-Giornal, Josée. "Le miroir de la folie : La gravure néerlandaise et le drame élisabéthain : circulation, échanges, interactions." Montpellier 3, 1998. http://www.theses.fr/1998MON30024.
Full textAbstract:
Etude de l'interface entre un support visuel, la gravure, et un support verbal, le texte dramatique, a une epoque (le xve siecle) et dans un contexte donne, celui des relations culturel1es, artistiques et commerciales entre 1'angleterre et les pays-bas. Elle comporte 1'analyse d'un corpus d'images gravees dont le denominateur commun est le theme du miroir de la folie humaine, theme majeur dans l'art septentrional sous influence des milieux humanistes. Le discours mora1inherent a ces images de l'exces et de la transgression montre d'une part un grand nombre de convergences avec les preoccupations du theatre seculier de l'epoque et, permet d'autre part d'entrevoir la possibilite d'une interaction entre certaines images populaires et le texte theatral. La thematique du miroir de la folie et les paralleles qu'elle permet d'etablir entre le domaine des lieux communs, des proverbes et des themes gravees fournissent le point d'ancrage avec le texte dramatique proprement dite. L'oeuvre shakespearienne s'avere etre le receptacle des differentes associations d'idees et de motifs egalement presents dans l'art graphique. L'analyse des correspondances entre le texte et l'image permet une interpretation des differentes utilisations des images morales par shakespeare et certains de ses contemporainsA study of the connections and the interdependence that existed between the verbal and visual means of communication in renaissance england in the light of the cultural, artistic and commercial exchange with the netherlands. It comprehends an analysis of a corpus of continental prints that can be linked to the iconographic tradition of the mirrors of human folly, reflecting the influence and concern of sixteenth-century humanist circles. The moral discourse inherent to these images of excess and transgression shows a significant number of similitudes with the preoccupations of secular theater of the time. Which suggests a possible interaction between popular graphic themes and the theatrical text. The mirror of folly as a thematic issue, and the comparisons it allows for with the popular field of common-places, proverbs, and visually illustrated themes, provides the link with the dramatic text proper. In many instances, playwrights and poets adopted thought schemes and motifs that are also to be found in the graphic arts. The elizabethan spectator possessed a visual vocabulary enabling him to recognize possible references made to pictorial types and conceits. A subsequent comparative study offers some insight in shakespeare's use of these moral images
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Aubel, Damien. "Autour des Cenci : approche structurale d'un épisode de la Renaissance italienne au dix-neuvième siècle." Amiens, 2006. http://www.theses.fr/2006AMIE0020.
Full textBooks on the topic "Art de la Renaissance – Thèmes, motifs"
1
Todorov, Tzvetan. Éloge de l'individu: Essai sur la peinture flamande de la Renaissance. Paris: Biro, 2001.
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2
Todorov, Tzvetan. Éloge de l'individu: Essai sur la peinture flamande de la Renaissance. Paris: Adam Biro, 2000.
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3
The sexuality of Christ in Renaissance art and in modern oblivion. 2nd ed. Chicago: University of Chicago Press, 1996.
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Fréchuret, Maurice. L' envolée, l'enfouissement: Histoire et imaginaire aux temps précaires du XXe siècle : [exposition] Musée Picasso, Antibes -- Musée d'art moderne, Villeneuve d'Ascq, communauté urbaine de Lille. Paris: Réunion des Musées nationaux, 1995.
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Art: Le grand livre de l'amateur : chefs-d'oeuvre du monde classés par thèmes. Paris: Atlas, 1988.
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1943-, Maguire Henry, Duncan-Flowers Maggie J, Krannert Art Museum, and Kelsey Museum of Archaeology, eds. Art and holypowers in the early Christian house. Urbana: Krannert Art Museum, University of Illinoisat Urbana-Champaign, 1989.
Find full textBook chapters on the topic "Art de la Renaissance – Thèmes, motifs"
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Mayer, Peta. "The Aesthete in A Misalliance (1986)." In Misreading Anita Brookner, 74–116. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620597.003.0003.
Full textAbstract:
This chapter mobilises key nineteenth-century aestheticist motifs to render a Sapphic lesbian homoerotic in A Misalliance. Protagonist Blanche Vernon’s nympholepsy is related to the text’s sensual motifs and the intertextual matrix surrounding the ancient Greek poet Sappho. The novel’s early reception is reviewed, including comments by Frank Kermode and John Bayley whose gendered readings obscure the text’s symbolism. On the contrary—emblematic of contested narratives of lesbian sexuality, women’s writing and political subversion in Sapphic texts by Charles Baudelaire and Renée Vivien—Sappho becomes the intertextual springboard for the production of the aesthete. In addition to the sensual motifs of the novel, key behaviours of aestheticism are indicated across the intertextual arc between Brookner’s text and her aestheticist predecessors including Renaissance revival, the desire to live life as art, the homoerotic gaze, the backwards turn, a trans-generational homoerotic and the subversion of bourgeois utilitarianism and family life. The performance of the aesthete is staged across the rhetorical figure of metaleptic prolepsis as supplied by Thomas Bahti’s reading of Walter Benjamin, and Mikhail Bakhtin’s narrative of metamorphosis with its contours of guilt, punishment, redemption, purification and blessedness. Reasserting women’s contribution to Romantic aestheticism, Brookner is read as both women’s writer and aesthete.