Dissertations / Theses on the topic 'Auguste Rodin'

Cette étude veut contribuer à soutenir la thèse que les relations de Rodin avec la Russie sont de nature diverse. Elle se compose de quatre parties. La première est consacrée à la perception de l’œuvre de Rodin par les Russes. Nous étudions les relations du sculpteur avec les collectionneurs russes, et les amateurs d’art, sa participation aux manifestations artistiques en Russie et sa fortune critique en Russie. Le sujet auquel est consacrée la deuxième partie de cette thèse est celui des Russes qui ont « touché » à la création de l’œuvre de Rodin (en premier lieu des praticiens et des élèves de Rodin, mais aussi des modèles et photographes). La troisième partie est consacrée au regard de Rodin sur la Russie. La quatrième partie porte sur deux relations artistiques du sculpteur – avec Nijinski et Goloubew
This study aims at supporting the thesis that Rodin's relations with Russia are in fact quite diverse. The manuscript consists of four parts. The first part is devoted to the perception of Rodin's work by the Russians. We study his relations with Russian art collectors, art amateurs, his participation in artistic events in Russia and his critical fortune in Russia. The second part deals with the Russians who contributed to Rodin's work (most notably, “praticiens” and pupils of Rodin, but also models and photographers). In the third part, we discuss Rodin's view on Russia. We find out how Russia becomes part of Rodin's life. The fourth part describes two artistic relations of Rodin, namely with Nijinski and Goloubew

Cette étude veut contribuer à soutenir la thèse que les relations de Rodin avec la Russie sont de nature diverse. Elle se compose de quatre parties. La première est consacrée à la perception de l’œuvre de Rodin par les Russes. Nous étudions les relations du sculpteur avec les collectionneurs russes, et les amateurs d’art, sa participation aux manifestations artistiques en Russie et sa fortune critique en Russie. Le sujet auquel est consacrée la deuxième partie de cette thèse est celui des Russes qui ont « touché » à la création de l’œuvre de Rodin (en premier lieu des praticiens et des élèves de Rodin, mais aussi des modèles et photographes). La troisième partie est consacrée au regard de Rodin sur la Russie. La quatrième partie porte sur deux relations artistiques du sculpteur – avec Nijinski et Goloubew
This study aims at supporting the thesis that Rodin's relations with Russia are in fact quite diverse. The manuscript consists of four parts. The first part is devoted to the perception of Rodin's work by the Russians. We study his relations with Russian art collectors, art amateurs, his participation in artistic events in Russia and his critical fortune in Russia. The second part deals with the Russians who contributed to Rodin's work (most notably, “praticiens” and pupils of Rodin, but also models and photographers). In the third part, we discuss Rodin's view on Russia. We find out how Russia becomes part of Rodin's life. The fourth part describes two artistic relations of Rodin, namely with Nijinski and Goloubew

Le sculpteur Auguste Rodin (1840-1917) rassembla entre 1895 et 1917 plus de 6000 œuvres d'art, qui, malgré la diversité de leurs origines, furent connues sous le nom de collection d'"antiques". Il s'agissait en majorité d'œuvres d'art grec, romain et égyptien, et, en moindre quantité d'Extrême-Orient, du Mexique précolombien, du Moyen-Orient, du moyen-âge, de la Renaissance ou de l'époque classique. Le 22 décembre 1916, le sculpteur fit don à l'état français de cette collection privée qui devint une collection publique gérée par le musée national Auguste Rodin mais demeura, de par la volonté de Rodin, liée à son œuvre pour la postérité. Cette collection d'artiste avait été construite, à la manière d'un musée de la sculpture comparée, au service de l'art de Rodin. L'œuvre du sculpteur était née avec constance de ces traditions puisées au fil des années dans le vaste réservoir de son musée imaginaire, et accumulées à la manière des pièces d'une collection. Pour l'artiste, le passage du virtuel au réel constitua un nouvel acte de création, encouragé par des conditions matérielles et culturelles propices à la construction de l'édifice. Rodin constitua une collection assez conformiste issue du marché de l'art de l'époque, dominée par la fragmentation du corps humain et tentée par l'archaïsme. Cette collection fut mise en scène par l'artiste dans ses différents lieux de création et de vie à l'identique de ses propres œuvres, auxquelles elle fut sans cesse confrontée. Elle fut un matériau d'étude, justifia l'œuvre de Rodin et lui servit d'écrin. La collection devint signe de la modernité d'un artiste qui annonçait déjà l'art du XXe siècle. Composée de nombreux fragments antiques, elle accompagna le sculpteur dans de nouvelles voies artistiques ou le beau et le fini n'étaient plus des valeurs absolues. Rodin se nourrissait des œuvres collectées avec une boulimie grandissante, et s'en servait dans son art comme d'une matière nouvelle fantasmatique ou réelle.

Le musée Rodin a été fondé par le sculpteur à la fin de sa vie, en 1916, à partir des donations de l’ensemble de son œuvre à l’État français. La création de ce musée monographique, perçue comme un geste patrimonial exemplaire, a magnifié l’idée de l’adhésion absolue de l’artiste au musée comme principe et comme institution. Mais elle a aussi concentré l’attention des historiens qui se sont peu intéressés aux musées ayant acquis des œuvres de l’artiste. Plus largement cette question des liens entre les artistes, leurs œuvres et les collections publiques d’art contemporain à la fin du XIXe siècle a été délaissée. Pourtant, et ce, dès avant l’existence du musée Rodin, les œuvres du sculpteur sont visibles dans de nombreux pays. Après la mort de l’artiste, ce phénomène ne fait que s’amplifier. Il s’agit donc d’observer cette diffusion exceptionnelle en France afin d’en identifier et d’en comprendre les mécanismes. Quels musées ont acquis les œuvres de Rodin ? Pourquoi, quand et dans quelles conditions ? Quelles ont été les positions du sculpteur vis-à-vis de ces musées ? À partir de l’élaboration d’un catalogue, cette thèse a pour projet d’analyser le rôle joué par les musées dans la carrière, la connaissance et l’appréciation de l’œuvre de l’artiste. Pour cela, il convient de s’attacher au parcours des œuvres, de la sortie de l’atelier jusqu’à l’exposition au musée, pour mieux saisir et reconstituer le paysage institutionnel, les pratiques sociales, les acteurs et réseaux mobilisés lors de cette diffusion. Notre étude se décline en six axes de réflexion : l’expérience du visiteur et les représentations du musée, les stratégies de visibilité et de légitimation dans les musées et dans les expositions parisiennes, les mouvements de dépréciation et de reconsidération des musées de province, la création et l’institutionnalisation du musée monographique, l’organisation de la diffusion posthume par le musée Rodin, les réceptions multiples et les interprétations contradictoires de l’œuvre du célèbre sculpteur
Through the donation of his entire work collection to the French state, Rodin founded his museum at the end of his life. The foundation of this monographic museum has been received as a model of legacy for posterity. In the past the idea that Rodin has given his full support to all the museums has been overestimated. Meanwhile, the issues of the specificity of the museums and its links with the artist has been disregarded by the historians. More broadly, the links between the artists of the 19th century and their contemporary museums has also been neglected. Yet, the works of the sculptor were found all over the world before the creation of the Rodin museum and even more after his death. We will focus on this dramatic diffusion in France to identify and understand its mechanisms. Which museums acquired Rodin’s works? Why, when and in which circumstances? What has been Rodin’s position regarding those museums? From the creation of a catalogue, the goal of this thesis is to analyze the role played by museums in the career, the knowledge, and the judgment of the artist’s work. To better understand and rebuild the institutional landscape, the social habits, the actors and networks involved in this diffusion, we will focus on the movement of the works from the studio to the exhibitions. Our study is divided in six parts: the visitor experience and the mental representations of the museum, the promotion and the legitimization strategies in the museums and the Parisian exhibitions, the depreciation and reconsideration tendencies towards the museums in the provinces, the creation and the institutionalization of the monographic museum, the organization of the posthumous diffusion by the Rodin museum, the various judgments and the contradictory readings of the famous sculptor’s work

Dissertação para a obtenção do Grau de Mestre em Conservação e Restauro, Especialização em Metais
Em 1884, o Município de Calais encomendou a Auguste Rodin (1840-1917) um projecto com a finalidade de homenagear o herói mais célebre da cidade, Eustache de St. Pierre. No entanto, após pesquisar o assunto, Rodin decidiu representar os seis Burgueses de Calais. A escultura de bronze, representando Jean d’Aire, um dos seis Burgueses de Calais, que integra o acervo do MGC, data de 1913 e pertenceu ao artista até à sua morte em 1917. Um dos principais objectivos deste estudo é a caracterização física e química da obra, em especial os processos e produtos de corrosão. Para tal, foram realizadas análises por impulsos ultra-sónicos, μED-XRF, XRD, μ-Raman, FTIR, OM e SEM-EDS. Estas análises foram efectuadas em amostras recolhidas da superfície e numa amostra apresentando ainda algum núcleo metálico. Apresentam-se como resultados principais deste estudo, o facto dos produtos de corrosão identificados serem compostos por cloretos de cobre (atacamite), sulfatos de cobre (antlerite e bronchantite), e nitratos de cobre (rouaite e gerhardtite). Estes últimos surgem devido à utilização de adubos NKP no jardim ou à presença de dejecto animal sobre a escultura, sendo que ambas as hipóteses não foram testadas. Também se pode verificar a existência de duas camadas protectoras, uma de cera parafina e outra de um filme acrílico. A camada de corrosão apresentada na amostra com substrato metálico revelou também a existência de compostos à base de cianetos.

O projeto de pesquisa analisa os rumos do pensamento escultórico moderno em direção a uma escala ambiental, processo que tem origem no final do séc. XIX, momento em que a obra A Porta do Inferno, de Auguste Rodin, modifica o espaço narrativo clássico, rompendo com a premissa do monumento e passando a pleitear cada vez mais uma imersão da obra no espaço do observador. O período das vanguardas históricas também foi fundamental para se repensar as fronteiras entre as linguagens tradicionais e o reconhecimento de outras esferas que não a das belas-artes, desde a dissolução da base na escultura de Constantin Brancusi, passando pela renovação do estatuto de arte em Marcel Duchamp, até as experiências de colagem com a obra Merzbau, de Kurt Schwitters. A dissertação examina especialmente a produção que desde então problematizou a tradição da escultura, privilegiando as manifestações contemporâneas que derivam da tradição moderna, projetando o campo da arte para além dos gêneros artísticos fixados até então, buscando expandir a noção de escultura em termos espaciais, temporais e experienciais. Entre as décadas de 1940 e 1960, a ruptura com essa tradição culmina na radicalidade das ações corporais de Jackson Pollock, que conferem uma nova escala às pinturas; e, mais à frente, numa produção que emergia como crítica aguda ao mercado e à institucionalização cada vez mais precoce do trabalho de arte. A arte contemporânea, então, teria sua origem num processo de crítica do objeto, precipitado pelo problemas da cultura de massa, onde os trabalhos se reconhecem num mundo da cultura, mesmo ao resistirem a sua cooptação. Sem ter sido objeto de análises abrangentes, a escultura contemporânea, se é que ainda podemos denominar escultura os trabalhos produzidos a partir da década de 1960, parece ter colocado em crise a noção moderna de forma, e passa a operar num contexto ampliado, aberta ao espaço e à dinâmica cultural urbana. É nesse momento que a dissertação se aproxima das obras de Richard Serra, José Resende e Hélio Oiticica e passa a dedicar uma análise mais atenta sobre aqueles trabalhos que lidaram com uma escala ambiental, ou ainda, se aproximaram das contingências do lugar onde atuam, quer físicas, sociais ou culturais, operando próximos à poética do site specificity.
The research project analyses the directions of the modern sculptural thoughts towards an environmental scale, a process that begins in the end of the 19th Century, a moment in which Auguste Rodins The Gates of Hell modifies the classic narrative space breaking up with the premise of the monument and defend every time more an immersion of the work in the observer space. The historical vanguard period was also fundamental to rethink the boundaries between the traditional languages and the recognition of spheres that are not of fine arts ñ from the dissolution of the base in sculpture of Constantin Brancusi, passing through the renovation of the art statute of Marcel Duchamp, to the collage experiences of Kurt Schwitters Merzbau. The dissertation examines specially the production that has questioned the sculpture tradition, the contemporary manifestations that come from modern tradition, projecting the art field beyond the so far fixed artistic genders and searching to expand the notion of sculpture in terms of space and time, as well as your artistic practice significance. Between the decades of 1940 and 1960, the break with this tradition culminates in the radically body actions of Jackson Pollock that gives a new scale to paintings; and afterwards, in a production that emerged as a deep critique of the market and the every time earlier institutionalization of the art work. The contemporary art, therefore, would have its origin in a process of the object critique precipitated by mass culture problems where the works are recognized in a cultural word, even when they resist to their cooptation. Without being object of comprehensive analyses, the contemporary sculpture, if we still can denominate sculpture the works produced from the 1860 decade on, seems to have placed the modern notion of form in crisis, and started to operate in an enlarged context, open to space and to the urban cultural dynamic. It is at his moment that the dissertation approaches Richard Serra, José Resende and Hélio Oiticicas work and dedicates more careful analyses over those works that deal with environmental scale, or yet, approach either physical, social or cultural contingencies of the place in which they act, operating to the poetic of the site specificity.

Thesis (Ph. D.) University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 31, 2007) Vita. Leaves 196-242 are blank. No reproduction of photographs available due to copyright issues. Includes bibliographical references.

Notre thèse porte sur Étienne Decroux, le créateur du mime corporel. Nous montrons que Decroux s’inspire à la fois du théâtre et de la sculpture pour concevoir son art du mime, qu’il définit comme la statuaire mobile. D’une part, il reprend le concept du masque de Jacques Copeau et celui de la sur-marionnette d’Edward Gordon Craig pour les transposer directement au corps. D’autre part, ses œuvres incarnent les formules de pathos observées dans les statues. La sculpture d’Auguste Rodin est une source d’inspiration centrale dans sa manière de représenter le corps sur scène. De plus, Decroux conçoit le corps comme une suite de prises de vues défilant devant le spectateur. Collaborant avec Étienne-Bertrand Weill qui photographie ses spectacles, il constitue une iconographie du mime pour mieux donner à voir le mouvement du corps en image. Enfin, Decroux considère le corps comme de la matière à sculpter. En s’identifiant aux sculpteurs mythiques, il met en avant l’aspect créateur de son art. Comme Pygmalion, il anime les corps de ses élèves. Comme Prométhée il transforme la société par son art aux aspects politiques. La statuaire mobile représente un concept-clé du mime corporel d’Étienne Decroux qui s’étend de la conception du mouvement sur scène à la prise de position éthique de l’homme dans le monde
The thesis main subject is Etienne Decroux, the father of corporeal mime. The main objective is to show that Decroux draws on both theatre and sculpture, thus conceiving his art of mime as the mobile statuary. On the one hand, he takes up the concept of mask put forward by Jacques Copeau and Edward Gordon Craig's ubermarionnette, transposing both concepts directly to the body. On the other hand, he embodies the pathos formulas observed in the statues. Decroux was heavily inspired by Auguste Rodin's sculptures in order to represent the body on stage. Moreover, Decroux conceives the body as a series of images which unfold before the audience. Working along with Etienne-Bertrand Weill who photographs his shows, he creates a relevant source of iconography of the mime that unveils the movement of the body in images. Finally, for Decroux, the body is a sculpting material. By identifying himself with the mythical sculptors, he brings forward the creative aspect of his art. Just as Pygmalion, he enlivens the body of his students and, as Prometheus, he transforms the society through his political art. The mobile statuary is then a key concept in the corporeal mime that goes from the conception of the movement on stage to the ideal and the universal in man
Disertační práce se zabývá osobností Étienna Decroux, tvůrce projektu tělesného mima (mime corporel). Jejím cílem je dokázat, že se Decroux inspiroval divadlem i výtvarným uměním k vytvoření koncepce tzv. „pohyblivé sochy“ (statuaire mobile). Z divadla přebral koncept masky Jacquesa Copeau a koncept nadloutky Edwarda Gordona Craiga, aby je převedl přímo na tělo. Ze sochařství přejímal formule patosu, zejména se inspiroval dílem Augusta Rodina a jeho koncepcí tělesné figury. Decroux pojímal tělo jako sérii obrazů, které se odvíjejí před divákem. Ve spolupráci s fotografem Étiennem-Bertrandem Weillem, který dokumentoval jeho představení, vytvářel ikonografický soubor, jenž zobrazuje mimovo tělo v pohybu. Na druhou stranu chápal tělo jako materiál, který mim modeluje jako sochař. Decroux se ztotožňoval s mytickými sochaři, aby dal najevo svoji roli umělce a tvůrce. Jako Pygmalion „oživoval“ těla svých žáků a jako Prométheus přetvářel společnost svým uměním, které mělo politický náboj. „Pohyblivá socha“ (statuaire mobile) představuje klíčový koncept umění tělesného mima Étienna Decroux, který zahrnuje jak koncepci scénického pohybu, tak etické postavení člověka ve světě

Notre thèse examine l'identité et les caractéristiques des collectionneurs de sculptures d'Auguste Rodin (1840-1917) de son vivant. A travers un examen de leurs choix, notre recherche explore les goûts d'une époque. Le nom de la plupart des commanditaires de Rodin est aujourd'hui tombé dans l'oubli, alors qu'il s'agissait de personnalités importantes du monde artistique, littéraire, scientifique et financier de la fin du XIXe et du début du XXe siècle. Notre recherche éclaire l'identité, la personnalité et l'importance des collectionneurs dans la carrière artistique de Rodin. L'éventail des collectionneurs, qui sont tantôt des amateurs, tantôt des mécènes nous a permis d'esquisser une véritable typologie de la figure du collectionneur de sculptures de Rodin et d'examiner le sculpteur en tant qu'artiste collectionné. L'étude des commandes nous a permis d'éclairer les différents choix des commanditaires ainsi que leur importance pour l'évolution du goût. Dans le cadre de ces acquisitions et commandes, nous avons examiné le rôle des intermédiaires entre le sculpteur et sa clientèle. Nous nous sommes par ailleurs interrogé sur la façon dont les collectionneurs privés ont contribué à l'enrichissement des collections publiques. Nous avons enfin mis en valeur les liens humains qui se sont développés entre le sculpteur et ses collectionneurs.

Jules Barbey d’Aurevilly et les arts visuels peut sembler un sujet de thèse paradoxal, tant il est convenu de considérer Jules Barbey d’Aurevilly comme incompétent dans le domaine artistique. Catholique, à la fois romancier, diariste, épistolier et critique d’art éphémère, il demeure l’un des auteurs les plus inclassables du XIXe siècle. Si le critique d’art est généralement contesté, nous proposons ici un jugement plus nuancé. Nous montrons combien l’esthétique de son écriture profane et catholique renvoie à des évocations qui sont de véritables transpositions d’œuvres d’art, où sculpture et peinture rivalisent. Quelques couleurs spécifiques sont en effet récurrentes au point de faire l’objet d’une évidente déclinaison liturgique. Au plan matériel, son goût pour la couleur est démontré par ses manuscrits. Barbey révèle au monde une écriture picturale, mais aussi une personnalité source d’inspiration et de représentation pour de nombreux artistes. Nous nous attachons également à la réception du personnage, afin de montrer comment le dandy spectaculaire, devient lui-même œuvre d’art pour ses contemporains et un sujet d’artefacts, dont les sculpteurs Zacharie Astruc et Auguste Rodin s’emparent en lui façonnant chacun un buste de bronze. Nous montrons enfin combien Barbey est une source d’inspiration pour divers artistes, allant des illustrateurs par images fixes, jusqu’aux adaptateurs, réalisateurs cinéastes et téléastes
Jules Barbey d’Aurevilly and the visual arts could be a paradoxical thesis because Jules Barbey d’Aurevilly is considered as incompetent in the artistic domain. Catholic, novelist, diarist, letter writer, and controversial art critic, he is regarded as one of the most unclassifiable authors of the XIXth century. He is one of the last romantics, but also one of the precursors of symbolism. His suggestive writing stimulates the reader’s imagination. If the art critic is controversial, yet the judgment must be qualified. His profane and religious esthetic way of writing suggests a real transposition of master works of arts, rivaling painting and sculpture. Some specific colours keep recurring so that they become the object of an obvious liturgical declension. Graphically, his taste for colour is demonstrated by his manuscripts. Barbey reveals to the world a pictorial way of writing, but also his personality is a source of inspiration and representation for numerous artists. In this thesis, the reader becomes attracted by the reception of his character, a Spectacular Dandy, who becomes a work of art himself for his contemporaries: the sculptors Zacharie Astruc and Auguste Rodin made bronze busts of him. Jules Barbey d’Aurevilly inspires the whole field of the visual arts, from illustrators of his published books, up to adapters, directors, film-makers and television directors

Cette recherche tend à analyser les effets de l'œuvre d'Auguste Rodin sur le milieu artistique et culturel italien entre les deux siècles. Il s'agira d'analyser les canaux à travers lesquels a pu s'effectuer l'assimilation d'un artiste étranger dans la tradition artistique italienne, les articulations entre pratiques et discours d'amateurs ou des connaisseurs artistiques, ainsi que les rapports entre l’histoire de l'art, la société et la politique. La première partie rendra compte de la participation de Rodin aux principales expositions italiennes. Cet excursus permettra de suive la connaissance de l'œuvre de l'artiste en Italie ainsi que l'évolution du jugement critique à son égard. Dans cette partie nous intéresserons aussi aux vicissitudes des collectionneurs italiens, publiques et privés, de Rodin. La seconde partie, se proposera d’étudier l'interprétation de l'œuvre de Rodin par trois critiques italiens - Giovanni Cena, Vittorio Pica, Ugo Ojetti - qui, dans différents milieux et sous différents points de vue, ont apporté une contribution incontournable à la divulgation de son œuvre dans le pays. Nous aborderons aussi le rôle fondamental joué par l’artiste lui-même dans la mise à point d'une "stratégie de communication" de son propre travail. L'étude des relations entre Rodin et les media italiens sera à l’origine de la construction du "mythe Rodin". La troisième et dernière partie, se veut comme une sorte d'observatoire sur le destin du rodinisme italien après la mort du sculpteur et jusqu'au début des années trente
This research aims to analyse the effect that Rodin's oeuvre had on the Italian artistic and cultural milieu between the two aforesaid centuries. We shall examine the channels through which a foreign artist was assimilated into the Italian artistic tradition, the relationships between the dealings and opinions of art lovers or connoisseurs, as well as investigating interrelations among the history of art, politics and society. The first part will cover Rodin's participation in the principal art exhibitions in Italy. This excursus will allow us to follow the development of knowledge of the artist's ouevre in Italy as well as the evolution of its assessment on the part of critics. This section will also cover the vicissitudes of Rodin's collectors, both private and public. The second part will concentrate on the interpretation of Rodin's work by three leading Italian critics of the day: Giovanni Cena, Vittorio Pica and Ugo Ojetti. All three, though moving in different spheres and each with his own stance, were vital to the dissemination of the French sculptor's work in Italy. We shall also tackle the fundamental rôle played by the artist himself in perfecting a "communication strategy" with regard to his own work. The study of relations between Rodin and the Italian media will lie behind this. We shall therefore examine the different means which were implemented in the creation of the "Rodin myth". The third and last part is to be considered a kind of observatory of the course and outcome of the passion for Rodin in Italy after the sculptor's death and up to the start of the 1930s

Cette thèse examine la réception de la sculpture de la Renaissance dans l’Europe du XIXe siècle, afin de déterminer quels enjeux sous-tendent sa fortune critique et artistique. L'histoire de la sculpture française du XIXe siècle est ainsi étudiée en regard de l’historiographie européenne de la statuaire Renaissance depuis 1805, date de la redécouverte du manuscrit original de la Vita de Cellini, jusqu’à l’exposition publique, en 1889, du Monument aux Bourgeois de Calais d’Auguste Rodin. L’intérêt pour la sculpture de la Renaissance s’éveille dans une Europe scindée entre permanence du modèle classique et affirmation du romantisme. La statuaire de la Renaissance est perçue comme le reflet d’un Age d’or que l’on voudrait revivre. En peinture comme en sculpture, la création artistique se fait le miroir de cette construction du mythe de la Renaissance. Michel-Ange devient une figure exemplaire de l’art; Jean Goujon est son contre-modèle français (I). Dans la seconde moitié du siècle, cet engouement européen pour la statuaire Renaissance est régit par des questions nationales. La sculpture des XVe et XVIe siècles est au centre d’un transfert culturel entre l’Italie et l’Allemagne. Vouées au culte de l’art gothique, la France et l’Angleterre montrent des réticences à célébrer la Renaissance italienne. Parallèlement, le développement de l’historicisme néo-renaissant dans la statuaire française aboutit d’une part au néo-style de Paul Dubois, d’autre part au renouvellement formel de Rodin (II)
This thesis examines the perception of Renaissance sculpture in nineteenth-century Europe, in order to determine which stakes underlie its critical and artistic fortune. History of nineteenth-century French sculpture is studied in comparaison to European historiography of Renaissance statuary from 1805, date of the rediscovery of Cellini’s Vita original manuscript, to 1889, date of the first public exhibition of the Monument aux Bourgeois de Calais by Auguste Rodin. The interest for Renaissance sculpture picks up when Europe becomes divided between permanence of the classical model and the appearance of Romanticism. Renaissance sculpture is seen as a Golden Age. In painting as in sculpture, artistic creation reflects the birth of the myth of the Renaissance. Michelangelo becomes an exemplary figure of Art; Jean Goujon is his French counter-mode| (I). In the second half of the century, national stakes govern this European passion for the Renaissance statuary. The sculpture of the XVth and XVth centuries become the object of a cultural transfer between Italy and Germany. Dedicated to the worship of Gothic art, France and England, on their part, hesitate to celebrate Italian Renaissance. In particular, the development of Renaissance historicism in the French statuary leads on one hand to Paul Dubois’neostyle, and on the other to Rodin’s artistic renewal (II)

The present thesis treats the importance of a particular cultural institution, i.e. Rodin museum, for cultural tourism in France. In the theoretical part, it deals with cultural tourism in general, tourism and culture in France, and finally it associates those two in cultural tourism in France. Then it concentrates on the tourism of Paris. In the practical part, a deep analysis of Rodin museum is elaborated. All discovered facts were used to compose a SWOT analysis and recommendations.

Au début du XXe siècle, l’aspiration à un nouvel univers formel est pressante dans le domaine de la sculpture. Retrouver les lois de leur art, voilà à quoi aspirent les sculpteurs. Depuis les années 1890, est apparue une nouvelle génération d’artistes, donc beaucoup sont des praticiens de Rodin, mais qui tous cherchent à se définir par rapport à lui. L’esthétique rodinienne est un passage à la fois obligé et contesté. Cette génération comprend les français Bourdelle, Maillol, Bartholomé, Joseph Bernard, mais aussi des sculpteurs issus de nombreux pays, qui font tous preuve, avec leurs personnalités respectives, de préoccupations convergentes. Gonzalez arrive à Paris en 1899, Brancusi et Nadelman s’y établissent en 1904, Gargallo y fait un passage en 1903-1904. En 1900, Hoetger s’installe dans la capitale (où il demeure jusqu’en 1907), en 1908 c’est le tour d’Archipenko. Lehmbruck y vit et travaille entre 1910 et 1914… Paris n’est pas seulement le lieu où la présence de Rodin rayonne, aimante les jeunes sculpteurs et les somme de réagir. C’est aussi un milieu intellectuel et artistique traversé de nouvelles idées. La sculpture ne reste pas à l’écart et stimule des débats esthétiques qui renouvellent la question de son autonomie par rapport à la peinture, de sa logique plastique propre, de l’attraction qu’opèrent les différents archaïsmes et primitivismes. Le milieu de la sculpture bénéficie aussi de la circulation des nouvelles idées philosophiques. Bergson, William James, Nietzsche et Simmel, en substituant des notions comme l’intuition, la mouvance et la suggestion à la raison, la permanence et la représentation naturaliste, deviennent des références qui animent des débats et fécondent la création plastique
Around 1900, in the field of sculpture, the desire for a new formal universe is urgent. Sculptors strive to fine the laws of their art. During the 1890s, a new generation of sculptors appears. Most of them work closely with Rodin, but all try to define themselves in relation to him. This generation includes artists such as Bourdelle, Maillol, Bartholomé, Joseph Bernard, but also numerous sculptors from different countries, who show, with their respective personalities, convergent concerns. Gonzalez arrived in Paris in 1899, Brancusi and Nademan moved there in 1904, Gargallo made a trip 1903-1904. In 1900, Hoetger settled in Paris where he remained until 1907, Archipenko arrived in 1908. Lehmbruck lived and worked there between 1910 and 1910… Paris is not only the place where Rodin shines, attracts young sculptors and causes them to respond. It is also a melting pot which promotes exchanges of points of view in the field of arts and ideas. Sculpture does not remain an isolated world, and aesthetic debates concern its independence from the paint, its autonomous universe, its attraction to archaism and primitivism. New philosophical ideas grow in sculpture society. Bergson, William James, Nietzsche and Simmel use new concepts as intuition, mobility and suggestion, which substitute others like ratio, permanency and naturalistic representation: these philosophers become references that animate debates and fertilize the visual arts

Lorsque l'humanité était essentiellement unie et proche du divin, elle pouvait envisager la réalisation d'une œuvre totale et transcendante. La construction de la tour de Babel reste l'exemple mythique de cette aspiration. C'est l'aspiration moderne à accomplir une œuvre d'ont la transcendance puisse actualiser l'absolu et transformer l'homme qu'explore cette thèse. La réalisation d'une œuvre d'art totale supposerait la synthèse parfaite des arts ou l'approfondissement radical d'une forme d'art en particulier pour arriver à son dépassement dans la source commune et absolu de l'art. Elle produirait une expérience esthétique proche de l'extase, où l'œuvre et tous les sens du sujet seraient en parfaites fusion et harmonie. Cette étude retrace brièvement la genèse de cette aspiration dans l'imaginaire biblique et classique jusqu'à son aboutissement dans l'univers de la cathédrale gothique. Ensuite l'exploration de la philosophie romantique allemande pose les jalons de l'avènement de la notion théorico-pratique de Gesamtkunstwerk par laquelle Wagner nomme cette quête de la modernité. Or l'analyse d'œuvres exemplaires de Wagner, Mallarmé, Rodin et Monet met en évidence que chaque tentative est unique et irréductible à une quelconque taxinomie. Il ressort que par-delà des différentes approches, disciplines, moyens et réalisations chacun des artistes étudiés se heurte à l'impossibilité d'atteindre ce haut idéal avoue ou latent. L'œuvre d'art totale ne peut donc être vécue que comme un horizon mouvant car chaque tentative de l'approcher éclaire son impossibilité même. Cet idéal inatteignable semble inscrit dans le destin de l'humanité depuis la brisure de l'unité essentielle de l'être illustrée par la chute de Babel.

This work focuses on a photographic archive of a czech sculptor Stanislav Sucharda (1866-1916). Stanislav Sucharda was one of the leaders of modern Czech sculpture. The aim of the work is to investigate and analyze a part of the private fund related to photographic reproductions of Sucharda's sculptures and work. The collection shows a wide range of photographic techniques and materials. Counting both glass negatives and plastic negatives, photographic positive techniques including albumen prints, colloid prints and various types of silver-gelatin prints. On negatives and positives there are secondary interventions. There are framing, varnish, retouching or photocollages. The photo collection is not classified according to any code, chronological or thematic distribution is missing. The aim will be trying to find links between sculpture models and photographs. Determining the purpose for which the photographs were taken should create a mosaic of Stanislav Sucharda's work with photographs. I would like to compare this archive with archives in art institutions, which have photographs associated with Stanislav Sucharda in their funds. On the basis of the research, the thesis will be confirmed or refuted that this part of the private-owned photographical collection of the Stanislav Sucharda's Foundation was used by the sculptor purely for his creative activities and were not the representations of his work. Consequently, the key role of photographing Sucharda's sculpture and the confirmation of whether Stanislav Sucharda himself photographed will be the key outline. In exploring the possibilities of Stanislav Sucharda's work and his co-operation with photographs, I will use the approach of comparison with Auguste Rodin's photographic collection, who was Sucharda's friend.

Fils ainé d'un sculpteur de la statuaire bouddhique, Kotaro alla à l'étranger étudier la sculpture moderne dans sa jeunesse et vécut à Paris pendant environ un an. Grand admirateur de la culture française, il ne cessa d'en subir l'influence: de Rodin, il apprit l'esthétique de la vie; chez Verhaeren, il admira l'amour occidental; quant à Romain Rolland, il lui inspira l'idée de la complémentarité de l'occident et de l'orient. Tout en assimilant la culture française, il ressentit pourtant la nécessite de revaloriser sa propre culture. Il connut une crise d'identité, passa une période réactionnaire teintée de nationalisme, mais n'abandonna pas sa tentative de synthétiser l'orient et l'occident. La vie de Kotaro nous montre ainsi divers problèmes de la rencontre de deux cultures. En suivant son itinéraire, nous étudions le drame intérieur de cette âme déchirée, pour en dégager les pensées, en particulier sa conception de la nature et de l'éros.

A la charnière des XIXe et XXe siècles, Berta Zuckerkandl (1864-1945), salonnière et journaliste autrichienne, participa activement à établir des échanges artistiques, culturels et politiques entre la France et l'Empire austro-hongrois. Alors que ses liens familiaux avec Georges Clemenceau lui permirent d'entrer en contact avec les artistes et intellectuels parisiens qu'il fréquentait - Rodin, Carrière, Raffelli, Geffroy..., son salon rassemblait à Vienne quelques-uns des acteurs emblématiques de la Wiener Moderne - Bahr, Klimt, Wagner, Mahler...-, formant le noyau d'un vaste réseau social européen. Porte-parole de la Sécession viennoise, Zuckerkandl s'imposa également comme l'une des critiques d'art les plus productives de son temps, guidant les artistes et initiant le public à l'art moderne, en s'appuyant sur les initiatives françaises pour orienter le développement de l'art. Cette étude vise ainsi à mettre en lumière son rôle dans la dynamique des échanges artistiques entre Vienne et Paris. Elle apporte d'abord des éléments biographiques éclairant la place privilégiée de Zuckerkandl à la rencontre des cultures française et autrichienne. Elle montre ensuite son implication au sein des cercles artistiques autrichiens et offre une analyse détaillée d'un corpus d'écrits sur l'art moderne. Elle expose enfin les résultats de ses interventions en faveur de la promotion des artistes français et de la réception de leurs oeuvres en Autriche, mettant en lumière les objectifs artistiques, culturels et politiques poursuivis par Zuckerkandl, décidé à préserver la culture autrichienne à l'épreuve de la guerre et de la chute de l'Empire austro-hongrois
At the end of the 19th and beginning of the 20th century, Berta Zuckerkandl (1864-1945), Austrian salonnière and journalist, engaged actively in artistic, cultural and political exchanges between France and the Austro-Hungarian Empire. Being on familiar terms with Georges Clemenceau gave her the opportunity to exchange ideas with artists and intellectuals in Paris, including Rodin, Carriere, Raffaelli, and Geffroy. Her salon in Vienna gathered some of the most pioneering personalities of the Wiener Moderne...- Bahr, Klimt, Wagner, Mahler...- and thus formed the centre of a vast social network within Europe. Being a spokeswoman of the Vienna Secession, Zuckerkandl established herself as one of the most active contemporary art critics. She guided artists and introduced the public into modern art by drawing on French initiatives to influence the art's development. The present study thus aims at highlighting her role in the dynamic artistic exchange between Vienna and Paris. It will first present Zuckerkandl's biography in order to draw attention to her privileged position in the exchange of the French and Austrian cultures. Secondly, it will show her impact on artistic Austrian groups and provide a detailed analysis of a corpus of selected documents dealing with modern art. It will finally discuss her interventions in favour of French artists and the reception of their works in Austria by highlighting the artistic, cultural and political aims pursued by Zuckerkandl, who was determined to preserve the Austrian culture despite the war and the collapse of the Austro-Hungarian Empire

Fils d'un banquier allemand et d'une mère issue de la noblesse irlandaise, Harry Kessler grandit à Paris, puis en Angleterre et en Allemagne. Il s'installe à Berlin où il fréquente l'avant-garde artistique et se passionne pour l'art moderne français tout en collaborant à la revue " Pan ". Un fabuleux héritage, légué par son père, lui permet de créer une collection d'art moderne d'une qualité exceptionnelle. Il vit entre Berlin, Londres et Paris où il fréquente les cercles néo-impressionnistes et symbolistes. De 1903 à 1906, Kessler, directeur du musée grand-ducal de Weimar, permet à ces groupes d'artistes non confirmés d'exposer leurs oeuvres. Lui même présente dans son domicile la plus grande partie de sa collection privée. Il favorise ainsi, avant la première guerre mondiale, la rencontre de l'avant-garde de la culture allemande et de la culture française ainsi que celle entre artistes, collectionneurs, marchands de tableaux, hommes de musée et hommes d'affaires. Kessler devient ainsi le meilleur imprésario de l'art français, en contradiction avec la politique officielle de Guillaume II. Lié d'amitié à un grand nombre d'artistes, ses visites lui permettent de suivre la production de ses protégés, parmi eux, en premier lieu, Auguste Rodin et Aristide Maillol. Certains passages de son journal et sa correspondance échangée avec des artistes français, éditée pour la première fois dans le cadre du présent travail, montrent l'importance du rôle d'intermédiaire culturel que joua Kessler entre 1895 et 1914 dans l'histoire de l'art franco-allemand et illustrent un chapitre intime de la complicité entre mécène et artiste.

Notions-clés: émerveiller, donner la primauté à l'observateur, étendre la perception, mener le travail plastique comme un projet de design, décloisonner art & science. Comparaison entre le rapport de l’oeuvre d’art à son observateur & celui de l’objet utilitaire à son utilisateur. Réflexions sur la générosité de l’art. L’Homme qui marche de Rodin : oeuvre emblématique de l’ensemble de ma recherche. Éclairages philosophique, physico-mathématique & neurophysiologique des notions de mouvement & de mouvant. Le « mythe de l’instantanéité », un paradigme à bout de souffle des théories du mouvement & de sa représentation artistique. Les techniques de représentation du mouvement dans l’image fixe. Les illusions visuelles de mouvement & leurs mécanismes biologiques & phénoménaux sous-jacents. Élaboration d’artéfacts « kinogéniques » sur base de ces illusions, dans une prolongation figurative de l’art cinétique, au sein d’une fiction narrative menant à une exposition collective d’artistes hétéronymes.

Consacrée à l'étude de la sculpture moderne à Paris de 1900 à 1914, cette thèse débute par une description du milieu de l'art à Paris au début du siècle : quartiers de Montmartre et de Montparnasse, académies et ateliers libres, musées, marchands, collectionneurs, critiques d'art et galeries. Dans ce contexte unique au monde, de jeunes artistes, dont certains venus de l'étranger (Archipenko, Boccioni, Brancusi, Csaky, Epstein, Lehmbruck, Lipchitz, Nadelman, Zadkine), tentent d'inventer une nouvelle sculpture en s'affranchissant de Rodin, référence incontournable. Certains (Bernard, Clara, Casanova, Manolo, Nadelman) prennent la voie d'une "modernité teintée de classicisme", s'inspirant de l'art antique. Maillol est un des initiateurs. D'autres (Archipenko, Duchamp-Villon, Gaudier-Brzeska, Epstein, Matisse, Modigliani, Picasso) suivent un chemin plus radical qui les amène vers une sculpture cubiste et primitiviste. Tous contribuent à faire entrer la sculpture dans la modernité. Moins connue que les révolutions du cubisme et de l'abstraction dans la peinture, cette mutation de la sculpture n'en est pas moins majeure
Dedicated to a study of modern sculpture in Paris 1900-1914, this Ph. D dissertation starts with a description of Parisian art world at the turn of the century : districts of Montmartre and Montparnasse, academies and independant school, museums, art dealers, collectors, art critics and art galleries. In this unique place in the world, emerging artists, some of them coming from abroad (Archipenko, Boccioni, Brancusi, Csaky, Epstein, Lehmbruck, Lipchitz, Nadelman, Zadkine), try to invent new sculpture in freeding themself from Rodin, the inevitable reference. Some of them (Bernard, Clara, Casanova, Manolo, Nadelman) take the route "modernity tinted with classicism" inspired by antique art. Maillol is one of the initiators. Others (Archipenko, Duchamp-Villon, Gaudier-Brzeska, Epstein, Matisse, Modigliani, Picasso) follow more radical way which lead them towards cubist and primitivist sculpture. All these artists contribute to drive sculpture into modernity. Less known as cubism and abstract revolution in painting, this transformation in sculpture is though a major event in art

1 score (x, 113 p.)
The implementation of an informed cross-relationship between two independent art forms has often been a source of inspiration for artists throughout the millennia. However, in the late 19th century, both Russian and French thinkers and artists began to build upon this notion by creatively considering the intermingling of sensory experiences as well. The resulting artwork from this temporally specific era was described as being "Symbolist," referencing both the intermedial and multi-sensory processes involved and/or considered in creating the respective work. My personal penchant to explore this artistic approach has resulted in a symphony that was inspired by, and intimately considers, five individual pieces of French "Symbolist" art, poetry, and sculpture. Each movement specifically focuses upon one of the five human senses. The respective works are: the sculpture "Le baiser" by Auguste Rodin (touch), "Parfum exotique" from Les fleurs du mal by Charles Baudelaire (smell), "Tristesse d'été" by Stèphane Mallarmé (taste) as published in Du parnasse contemporain, the painting "Hina tefatou" by Paul Gauguin (sight/insight), and "Chanson d'automne" from Poèmes saturniens by Paul Verlaine (hearing/listening).
Committee in charge: Dr. David Crumb Chairperson, Advisor， Dr. Robert Kyr， Member； Dr. Jack Boss， Member； Dr. Jenifer Craig， Outside Member

Ce travail met en perspective la place du poète et critique Charles Morice dans la vie des arts plastiques de son temps, monde qu'il a, par ses écrits et son action, en partie conditionne et qui a en retour déterminé son existence. Homme d'utopies qu'il a tenté de réaliser, il est intervenu de façon pratique dans Ie fonctionnement du monde artistique contemporain, favorisant des artistes comme Paul Gauguin ou Pablo Picasso. Sa critique d'art prend ses racines dans la periode du symbolisme litteraire, dont il est considere comme l'un des theoriciens, et connait un moment d'intense production dans la premiere decennie du XXe siecle, fournissant ainsi a des concepts enonces vingt ans plus tot une importante tribune. Le rapport de Paul Gauguin aux ecrits de Morice, qui est en grande partie a l'origine du discredit suivi de l'oubli du critique, a fait l'objet d'une analyse poussee qui aboutit sur une reevaluation. .

This thesis provides an overview of the engagement with the material culture of Assyria, unearthed in the Middle East from 1845 onwards by British and French archaeologists. It sets the artistic discovery of Assyria within the visual culture of the period through reference not only to painting but also to illustrated newspapers, books, journals, performances and popular entertainments. The thesis presents a more vigorous, interlinked, and widespread engagement than previous studies have indicated, primarily by providing a comprehensive corpus of artistic responses. The artistic connections between Britain and France were close. Works influenced by Assyria were published, exhibited and reviewed in the contemporary press, on both sides of the English Channel. Some artists, such as Gustave Doré, successfully maintained careers in both London and Paris. It is therefore often meaningless to speak of a wholly ‘French’ or ‘British’ reception, since these responses were coloured by artistic crosscurrents that operated in both directions, a crucial theme to be explored in this dissertation. In Britain, print culture also transported to the regions, away from large metropolitan centres, knowledge of Assyria and Assyrian-inspired art through its appeal to the market for biblical images. Assyria benefited from the explosion in graphical communication. This thesis examines the artistic response to Assyria within a chronological framework. It begins with an overview of the initial period in the 1850s that traces the first British discoveries. Chapter Two explores the different artistic turn Assyria took in the 1860s. Chapter Three deals with the French reception in the second half of the nineteenth century. Chapter Four concludes the British reception up to 1900, and Chapter Five deals with the twentieth century. The thesis contends that far from being a niche subject engaged with a particular group of artists, Assyrian art was a major rediscovery that affected all fields of visual culture in the nineteenth century.

From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.

Le présent mémoire propose de retracer les parcours d’Edgar Degas et d’Auguste Rodin afin de comprendre comment ces deux artistes en sont arrivés à s’intéresser aux corps féminins en mouvement, au point de faire des états de corps plutôt que des états d’âme leur sujet de prédilection. Partant du fait que le premier avait d’abord songé à renouveler la peinture d’histoire et que le second s’inspirait volontiers de sources littéraires pour ses monuments, nous avons concentré notre approche sur la perte progressive de tout substrat narratif dans leur traitement des figures féminines. Nous examinons comment ce déplacement les dispense de l’impératif de créer des personnages vraisemblables pour diriger l’intérêt vers le modèle posant et les conditions de production de l’atelier. Il en résulte un curieux renversement des procédés qui, dans la tradition académique, assignaient le talent de l’artiste à la réalisation de la beauté idéale. Alors que les corps de femmes représentés par les deux artistes se livrent à des contorsions qui les défigurent avant de les faire éclater en fragments, Degas et Rodin multiplient les traces de leur dialogue avec le matériau et signalent leur volonté d’en finir avec certaines conventions de leur médium. Ces choix ne peuvent pas s’expliquer en dehors des bouleversements socioéconomiques importants qui traversent la période, affectant la condition féminine mais aussi celle des artistes, de leurs institutions et de leur marché.
This thesis proposes to follow the development of Edgar Degas’ and Auguste Rodin’s work to understand how those two artists came to take a quasi-exclusive interest in female bodies, to the point that physical rather than emotional states became the main focus of their oeuvre. Considering that the former was tempted by history painting and that the latter did not hesitate, at first, to borrow from literary sources for his monuments, we focus our approach on the progressive elimination of all narrative subtexts in their representations of female figures. We examine how this move displaced the interest from character and role playing to focus on the physical presence of the model and on the working conditions prevailing in the atelier. This results in a complete overthrowing of the academic rules enrolling artistic talent in the service of ideal beauty. While their female bodies become so contorted that they end up disfigured before exploding into fragments, the two artists make themselves more present as the producers of their work, leaving traces of their manipulations and structural inventions in their mediums. These strategies are of course inseparable from the important socioeconomic changes that mark the period and modify not only the condition of women but also the status of artists, the authority of art institutions and the nature of the art market.

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2011
O presente projecto de investigação estabelece como objectivo o estudo da representação do Feminino no contexto do Surrealismo português, considerando a especificidade do discurso artístico como parte integrante de uma realidade heterogénea, constituída por uma pluralidade de propostas plásticas e linguagens artísticas, onde confluem a palavra e a imagem. Ao centrar o estudo da imagética surrealista portuguesa na problemática do Feminino – entendida como dimensão agregadora da visualidade plástica e poética e assumida como elemento fundamental para a interpretação e teorização do Surrealismo – teoriza-se sobre a existência de uma especificidade no discurso dos surrealistas portugueses, focada no Feminino, que ultrapassa as condicionantes históricas, as diferenças entre grupos e os diversos posicionamentos teóricos e estéticos. A investigação confirma uma série de constantes imagéticas ou territórios de convergência na representação do Feminino, que oscilam entre a evocação de uma unidade e integridade corporal e psíquica e a dissolução e perda dessa dimensão idealizada como perfeita, mas também a afirmação do Feminino como objecto privilegiado de impulsos destrutivos ou como pulsão de destruição e morte. Deste modo este estudo apresenta uma abordagem inovadora que contribui para uma redefinição da imagética surrealista portuguesa, a partir do Feminino, abrindo outras perspectivas à investigação.
The current project of research has the purpose of studying the role of the Feminine within Portuguese Surrealism context, considering the particularity of the artistic speech as an integrant part of a heterogeneous reality, composed by a plurality of plastic purposes and artistic languages, where word and image converge. By focusing the study of the Portuguese surrealist imagery on the Feminine problematic – understood as an aggregating dimension of plastic and poetic vision and assumed as an essential element to interpret and understand Surrealism – a theory is developed on the existence of a specificity in the speech of Portuguese surrealists, centred on the Feminine, which surpasses the historical conditionings, the differences between groups and the several theoretical and esthetical positioning. Research confirms a series of constant imageries or convergence territories for Feminine representation, which vary between the evocation of a body and psychic unit and integrity on one side and the dissolution and lost of that dimension idealized as being perfect on the other, but also the affirmation of Feminine as a privileged object of destructive impulses or as an impeller of destruction and death. This study presents a new approach which contributes to a redefinition of Portuguese surrealist imagery, from a Feminine view, opening other perspectives to research.
Fundação Para a Ciência e a Tecnologia (FCT); Fundação Cupertino de Miranda; Centro de Estudos do Surrealismo

In general terms, we explore the study of ambiguity on the representation of the female body in Sculpture, using the mimesis and representation of classical system as a theoretical framework.Taking under consideration the plastic values of composition, the classical representation of the human body is subject to the study of anatomy, balance, proportion, dimension and the relation of the parts with the whole. However, with the advent of modernism in the 20th century, the traditional concepts of unity and integrity have been abandoned giving rise to an increasing disinterest for human body representation while coherent and continuous entity. The female body is connected to the most elementary notions of order and composition. It will be within this context that we propose the study of female morphology as a medium to convey ambiguity. This reference to ambiguity implies reflecting upon an ideal form perspective. The condition of ambiguity in Sculpture sets forth a multivaluation of poetic language. It is universal and assumes sheer communion between opposites. Similarly to what happens with the human body, in which a duality is established made of spirit and body, that which marks the sculptural work is the capacity to harmonize opposite entities in search for an idealization, a process by which the “object of love” is worth the refinement. Sculpture demands a material result which is expressed in tridimensional shape, a practical materialization. The sculptor observes, idealizes, composes, and brings to life a new presence in space. His creative process is mainly active and can only exist in the scope of a deep dialogue with matter. In this sense, the approach we propose tends to be a theme analysis that converges in theoretical and practical aspects of composition in Sculpture which seemingly will result in the installation of an original sculpture in a public space of Moledo – Inês, depois do pecado (2014) – with the aim of establishing, from an artistic, technical, thematic and symbolic perspective, a connection link and a possible return onto the figurative representation in to contemporary art at the 21st century.

Our intention is to deal with an experience on the study and the survey of the Casa dei Cavalieri di Rodi and through it provide a piece of what could be a useful methodology to achieve the documentation and knowledge of architectural complex systems. A fundamental principle on which the work is founded is to use all the material, after verifying that it has been produced on the subject. The comparison allows us to share the experience, to understand and evaluate the choices made by others and to motivate our own, in accordance or not with those already made in the past. The comparison may relate to the survey, from the surveying techniques to the graphic restitution, the choice of views in drawings, the graphic representation that often reflects the time in which it was drawn, but not only. In the case of this architecture, the Casa dei Cavalieri di Rodi , which has passed through several transformations over time and therefore has in fact changed facies several times - morphology and its configuration and the environment in which it is placed - surveys and more generally, the drawings of the past provide very important information in the understanding of its history. In this context we work with new integrated methods of measuring - that made it possible to record a certain amount of information and data that actually constitute a heritage already objective enough to be used by other users who operate in this area - and compared to past, alternative methods of representation and communication of the information acquired; synthesis and representation of the latter produced in this study also aim to establish themselves as an original contribution to the interpretation of the data collected. The main objective of this study was to understand and communicate the changes which occurred in the building, from the foundation of the original nucleus to the current situation, highlighting the key stages of the construction that have made the Casa dei Cavalieri di Rodi the present building. In the selection of the evolutionary phases of the building to be represented in the story of its long history the focus has mainly aimed at those which have made serious changes to the morphology of the building – gradually transforming it as it is today - and that have changed its relations - openings, connections – with the outside; and particularly at the moments in which wall alignments and elevations were built, generating obviously new forms. The Casa di Rodi, as a complex system, represents and brings to an inexhaustible topic; never as in this case it was important to begin a work of knowledge, while leaving open space towards future research and studies.

The diploma thesis maps the activity of the Zátka family, a significant family from České Budějovice, in the cultural sphere. A view on atmosphere of 19th century and the beginning of 20th century will be presented via selected members of this family (Hynek, August and Vlastislav Zátka). The roots of their extended family will be summarized with emphasis on their role as founders and patrons in founding particular Czech organizations, companies and associations. The first part focuses on Zátkas' impulses and activities in cultural, political and economic sphere. The second part is dedicated to various family monuments, for example buildings (family mansions), statues or collecting activities.

In this Master in Sculpture Studies we try to expose and analyze the question of space in sculpture, from the beginning of modernism to the present day, mentioning some close previous situations and following R. Krauss logic of expanded space in sculpture. In this sense, we look to a better understanding of how to transit from a closed space to a negative one, through the history of sculpture of the 20th century. Enunciating these same changes, focusing on the different approaches made before, from analyses of both artists thoughts, as well as artist’s deposition on writings and interviews among other sources. We wish above all, not loose sight of the relation’s between, artist, work of art and spectator, having has main concern the historical-conceptual dimension of the works of art in relation with space

Il breve periodo qui preso in analisi è tra i più controversi nonché ignorati dalla storia delle istituzioni internazionali. La storiografia tradizionale, non avendo fornito uno studio adeguato del mileu in cui il diritto internazionale moderno ha posto le radici, ha spesso considerato l’Institut de Droit International e il progetto scientifico dei giuristi internazionali che lo composero un preludio fallimentare della prima guerra mondiale. Inoltre sono state poste in analisi le riflessioni dottrinali dei giuristi internazionali con la volontà di sottolineare le instabilità, le divisioni interne e le arretratezze strutturali rispetto al contesto preparatorio della prima guerra mondiale. Queste passate linee di ricerca presentano però una lettura deviante del periodo prebellico in quanto cercano esclusivamente di fornire spiegazioni al fallimento liberale della Grande Guerra, dando così scarsa risonanza al contributo apportato dalle riflessioni e dall’operato dei giuristi di fine Ottocento. Si tendono perciò a sovrastimare i momenti di crisi ed i fallimenti, trascurando invece le continuità, i mutamenti e le esperienze scientifiche che, pur non avendo apportato sostanziali cambiamenti nelle relazioni internazionali tra gli stati di fine Ottocento, sono state preparatorie e propedeutiche alle riflessioni del diritto internazionale del XX secolo. L’intima relazione dell’Institut de Droit International e dei suoi protagonisti con la politica liberale di secondo Ottocento è il vero leitmotiv che emerge da questo lavoro, in cui si pone l’accento proprio sulla comunità italiana di giuristi e uomini politici che contribuirono alla riforma del diritto internazionale. È per questo motivo che l’importanza dell’istituto di Gent, per non dire anche il motivo del suo oblio, risiede nel suo intreccio con la trama dei valori fondamentali e dei criteri generali del liberalismo del XIX secolo. I giuristi e gli uomini politici italiani che contribuirono alla formazione e allo sviluppo dell’Institut de Droit International, seppero, con modalità d’intervento, di mediazione e di interazione diverse nel tempo, instaurare un ordine mondiale costituito da un liberalismo imperante, in virtù della loro formazione liberale. L’Institut de Droit International nello studio delle dinamiche e dei dibattiti interni si caratterizza come un momento istituzionale importante e come luogo in cui si articola una nuova professione internazionale, quella del giusinternazionalista. Ne emergono così figure qualificate con conoscenze tecniche, valori politici ed esperienze parlamentari in grado di interloquire ripetutamente con i governi di tutta Europa nella prassi delle relazioni internazionali di fine secolo. All’interno del processo che condusse al riconoscimento e all’istituzionalizzazione di autonome discipline si palesò la separazione sempre più marcata della scienza dalla politica, a favore di un tecnicismo mai conosciuto prima, a tal punto che, non solo i giuristi internazionali, ma tutti gli intellettuali di primo Novecento, apparvero inadatti a reggere la grande prova politica del 1914 cui erano chiamati a rispondere. È quindi l’intero mondo occidentale il luogo in cui si vive il fervore di una sorta di “repubblica delle scienze” che, desiderosa di porsi al servizio dell’umana società, cerca di rendersi indipendente dalla politica a cui era legata, istituzionalizzandosi e formalizzandosi. In un gioco tra l’edito e l’inedito, emerge la consapevolezza che questo consistente tentativo di organizzazione scientifica non sia stato una mera casualità individuale, ma un reale confluire di molteplici e diverse vicende intellettuali e politiche. Si è mosso dunque il proposito di delineare non solo i contenuti e le logiche comunicative dell’Institut de Droit International, ma, sulla base delle vicende professionali, politiche e accademiche dei suoi protagonisti, si sono volute illustrare le strategie metodologiche attraverso cui questi giuristi e uomini politici intrapresero nell’istituto di Gent il percorso che li avrebbe identificati come un corpo professionale. Le corrispondenze personali, in particolare, sono impregnate di valori liberali che insieme ai criteri tecnico professionali, espressi maggiormente dalla documentazione scientifica edita, formano un interessante bagaglio culturale e professionale che verrà ripreso dal diritto internazionale dopo la “pausa” della Grande Guerra. Per comprendere al meglio l’Institut de Droit International si è articolata dunque una ricerca orientata all’ “interno”, cercando di porre in risalto il milieu politico-culturale, nascosto nelle riflessioni sul diritto internazionale moderno, all’interno del quale mossero i primi passi i giuristi internazionali. Attraverso un ritorno a tutte quelle disposizioni ufficiali dell’Institut de Droit International e ai carteggi sorti par le concours harmonique des forces de la science, si riporta alla luce quel rapporto particolare che intercorre tra istituzione, stato e giuristi internazionali. Da queste considerazioni si vuole compiere un’associazione fra due punti di osservazione diversi: uno microscopico che potremmo dire interpersonale, in grado di far risaltare l’apporto interessante dei giuristi italiani all’interno della compagine europea ed un altro macroscopico in grado di rendere una visione d’insieme del milieu di quel laboratorio di idee che si formò a Gent. Lo studio delle prassi di politica estera, nonché lo studio del pensiero giuridico di fine Ottocento, si affiancano quindi allo studio ed alla ricerca delle metodologie, dei “luoghi” reali e figurati e delle modalità decisionali dei giuristi internazionali. Dai valori e dalle esperienze sulla base dei quali agivano gli “uomini del 1873”, protagonisti dell’Institut de Droit International, emerge il valore aggiunto di una linea di ricerca che si colloca tra lo studio del pensiero giuridico e le attività di ricerca di storia delle istituzioni. Per rispondere ad un contesto socio politico sconvolto da processi di state building e da un nuovo ordine mondiale si palesarono nuovi sforzi di cooperazione, di diversa ispirazione, che furono in grado di concorrere allo stato contingente della fondazione dell’Institut de Droit International. Questi processi ed eventi indipendenti dall’istituto di Gent, nella loro ricerca di nuovi standard legali congrui, hanno dunque aperto la strada ad un nuovo spirito di riforma nel diritto internazionale. Gli intellettuali sulla base di un inedito protagonismo, chiamati a rispondere a questioni di vicini e lontani orizzonti, vissero una tensione riformatrice che connotò ampi aspetti del loro “modo di essere internazionali”. Il diritto internazionale moderno vivendo le tensioni, i disincanti e le speranze dei protagonisti della seconda metà dell’Ottocento può essere inteso a pieno titolo come uno specchio fedele di quella “macchina mondiale” in continuo mutamento rappresentata dagli ultimi decenni del XIX secolo.
The short time taken in analysis here is one of the most controversial and ignored by the history of international institutions. Traditional historiography, by failing to provide an adequate study of milieu in which modern international law has taken root, has often considered the Institut de Droit International and the scientific project of international lawyers who composed a prelude to the bankruptcy of the first world war. In addition, the doctrinal reflections of international lawyers were analyzed with a willingness to emphasize the instability, internal divisions and structural backwardness compared to the context of preparation for WWI. These lines of research have, however, a deviant reading of the prewar period as they seek only to explain the liberal failure of the Great War, thus giving little resonance to the contribution provided by the reflections and the work of jurists in the late nineteenth century. In such a way the continuities, changes and scientific experience that, despite not having made substantial changes in international relations between the states of the late nineteenth century, were preparatory to the reflections of the international law of the twentieth century, were neglected. The intimate relationship of the Institut de Droit International and its players with the liberal politics of the late nineteenth century is the true leitmotif that emerges from this work, which focuses in particular on the Italian community of lawyers and politicians who contributed to reform of international law. It is for this reason that the importance of the Institute of Gent, to say the reason for his neglect, lies in its intertwining with the plot of the core values and general principles of liberalism of the nineteenth century. The Italian jurists and politicians who contributed to the formation and development of the Institut de Droit International, were be able, with different rules in time for intervention, mediation and interaction, to establish a world order based on the liberalism, as their liberal education suggests. The Institut de Droit International in the study of the dynamics and internal debates becomes an important institutional time and a place in which it emerges a new international profession: the international lawyer. These figures are notably skilled, with technical knowledge, political values and parliamentary experiences able to interact repeatedly with governments throughout Europe in the practice of international relations of the late century. Within the process that led to the recognition and institutionalization of autonomous disciplines, the separation of science from politics appeared, in favor of a technicality never known before, so that not only international lawyers, but all intellectuals of the early twentieth century, appeared unfit to rule the big political test of 1914 they were called to respond. Therefore, the entire Western world is the place where is felt the fervor of a "republic of science" who, in the service of humanity, tries to be independent by politics by means of institutionalization. In a game between the published and unpublished, it is shown an awareness that this consistent effort of scientific management is not merely random, but a real confluence of many different intellectual and political events. The aim is to outline not only the content and the communicative logic of the Institut de Droit International, but also, on the basis of professional affairs and academic policies of its protagonists, the methodological strategies that constituted the professionalization of the jurist. The personal correspondences, in particular, are imbued with liberal values, which together with technical and professional criteria expressed mainly by the published scientific literature, form an interesting cultural and professional background that will be taken up by international law after the "pause" the Great War. To better understand the Institut de Droit International the research was focused to an “internal” perspective, trying to emphasize the cultural-political milieu, hidden in the debate on modern international law, in which the international lawyers undertook their first actions. Through a return to all the official provisions of the Institut de Droit International and the correspondences suited “par le concours harmonique des forces de la science”, it sheds light on the special relationship that exists between the institution, state and international jurists. From these considerations, the goal is to make an association between two different viewpoints: one microscopic which is “interpersonal” and is able to bring out the interesting contribution of the Italian jurists within the European team and another that makes a macroscopic overview of the milieu of that laboratory of ideas that rose in Gent. The study of the practice of foreign policy and the study of the legal thought of the late nineteenth century, were associated to the study of the methodologies, the real and figurative "places" and the manner of decision expressed by the international lawyers. From the values and experiences shown by the "men of 1873", the protagonists of the Institut de Droit International, it emerges the surplus value of a line of research that is between the study of legal thought and the research in the history of the institutions. To answer to a socio political context devastated by the processes of state building and the new world order, new cooperative efforts of different inspirations were able to compete to the contingent state of the founding of the Institut de Droit International. These processes and events independent by the institution of Ghent, in their search for new suitable legal standards, therefore, have inaugurate the way for a new spirit of reform in international law. The intellectuals, called to respond to issues of near and far horizons, lived a reforming tension who characterized many aspects of their "way of being international". The modern international law, by living the tensions, the disenchantments and the hopes of the protagonists of the second half of the nineteenth century, can rank as a true reflection of that "worldwide mechanism" very changeable represented by the last decades of the nineteenth century.