Dissertations / Theses on the topic 'Baroque's classicism'

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This dissertation is a comparative study between some satirical poems by Gregório de Matos e Guerra and the epistolary poem Cartas Chilenas by Tomás Antônio Gonzaga. These poets lived and produced in distinct centuries. Gregório de Matos was a poet in the 17th century and Tomás Antônio Gonzaga in the 18th century. This work investigates the satirical ways that both poets poeticize, often convergent, promoting a fruitful continuity of the satire in Brazilian literature. Moreover, it aims to distinguish and value the particularities of its inventive act. This study also aims to demonstrate that the historical factor is not a determining element of the artistic quality of the satirical poem, but is such for the thematic quality of the like, relating to the aforementioned poems. According to the final considerations, one can conclude that the satirical compositions reviewed were led by the poetry of two artists that revolutionized the verse of their time from the 17th and 18th centuries' poetic meter and through a subtle understanding of the world.
Esta dissertação é um estudo comparativo entre alguns poemas satíricos de Gregório de Matos e Guerra e o poema epistolar Cartas Chilenas, de Tomás Antônio Gonzaga. Estes poetas viveram e produziram em séculos distintos. Gregório de Matos foi poeta no século XVII, e Tomás Antônio Gonzaga, no século XVIII. Este trabalho investiga os modos satíricos de poetar de ambos, às vezes convergentes, às vezes divergentes, promovendo uma continuidade fecunda da Sátira na Literatura Brasileira. Além disso, visa a distinguir e valorizar as particularidades de seu ato inventivo. Este estudo também busca demonstrar que o fator histórico não é elemento determinante para a qualidade artística do poema, mas, nos poetas citados, é parte integrante de sua temática. As considerações finais permitem afirmar que as composições satíricas tratadas se conduziram pela poesia de dois artistas que recriaram sua época em versos por meio da medida poética dos séculos XVII e XVIII, e por um sutil entendimento do mundo.

Cette thèse recherche quelle est la valeur propre de la peinture et ce qui détermine la nature des rapports entre les éléments picturaux dans cette valeur. S’interrogeant sur le sens de la picturalité et sur plusieurs types du beau plastique contemporain, elle se développe au moyen d’une comparaison entre des éléments ordinairement opposés. Considérant que toute peinture est constituée d’une relation à la fois variable et relative entre divers éléments picturaux, ce qui se trouve remis en question ici est l’opposition, voire même la distinction dichotomique, concernant divers couples d’opposés, au travers de leur relativisation. En tant qu’artiste-peintre, l’auteur approfondit sa problématique au moyen d’un commentaire de peintures personnelles, mises en relation avec de grandes œuvres de l’histoire de la peinture. Chaque partie de ce travail met ainsi en jeu une dialectique construite sur le jeu de deux caractères contraires. La première partie est une étude sur le mouvement en tant que sujet : La Vitalité, entre dynamisme et statisme. La deuxième partie concerne la composition d’une peinture : La Tension, entre ordre et désordre. Dans la troisième, sont développées des questions relatives à l’expression dans la peinture : L’Expression, entre « créant » et « créé »
This thesis inquires into what makes the proper value of painting and what determines the nature of the relationship between the pictorial elements in this value. Questioning the meaning of the pictoriality and of several types of contemporary plastic beauty, this thesis proceeds through a comparison between elements usually opposed. Considering that all painting is made up on the basis of a relationship which is both variable and relative between its various pictorial elements, this thesis questions the opposition, or even the dichotomous distinction frequently made between these couple of opposite. It does so through their relativisation. As an artist-painter, the author deepens her issues through a comment of her personal paintings, establishing connections with great works of painting history. Each part of this work is built on the dialectical play between two opposite characters. The first part is a study of movement as subject : Vitality, between dynamic and static. The second part is concerned with the composition of a painting : Tension, between order and disorder. In the third part are developed questions concerning expression in painting : Expression, between "creating" and "created"

L'enquete repose sur l'etude des edifices lorsqu'ils subsistent, sur les archives, les plans originaux, les documents figures permettant de connaitre les motivations de louis, les modalites des creations et l'etat primitif des oeuvres. Nous avons reconstitue a partir de cette documentation, la vie de l7architecte et mene a bien l'analyse technique et artistique de ses oeuvres. La carriere de louis, tres feconde jusqu'a la revolution, a ete pratiquement interrompue a partir de ce moment ses creations permettent de saisir un temperament artistique plus que de definir un style. Rejete par les architectes de l'academie a cause de ses liens avec le marechal de richelieu pui le duc d'orleans, il a ete largement sollicite par une clientele privee qu'il a su satisfaire avec souplesse. Tenant du gout "a la grecque" pour la decoration, fortement marque par palladio, michel-ange, vignole, le bernin et piranese, il maitrise la tradition francaise des maitres-macons et sait en meme temps, user avec intelligence de techniques annoncant le 19e siecle
This research is based on the study of any buildings still extant, of archives, original plans and figured documents, which allow us to understand louis motivations, his creative methods, and original state of the works. With this we have been able to trace the architect's biography and to carry out the technical and artistical analysis of his works. Louis's career was very prolific until the french revolution, but was later virtually suspended. His creations enable us to apprehend an artistic temperament rather than to define a style. Rejected by the academy architects because of his ties with marechal de richelieu and the duc d'orleans, he was called upon by private clients who he satisfied with versatility. Champion of the "greek fashion" in decoration strongly influenced by palladio, michelangelom vignola, bernini and piranesi, he astered the french master masons tradition, while skilfully employing techniques foreshadowing the 19th century

A partir de documents litteraires, geographiques, archeologiques : 1) etude des techniques utilisees par les plongeurs : deplacements sous l'eau, etude du lest, lutte contre la pression, vision, apnee diverses causes d'accidents preparation et entrainement des plongeurs evaluation des performances : temps, profondeurs evolution des connaissances theoriques : physique, physiologie. 2) applications de la plongee : peches (corail, murex, eponges, perles) manoeuvres des bateaux, plongees militaires, recuperations d'epaves pour chaque activite, etude de sites (mediterranee, golfe persique, ocean indien, antilles legislation des recuperations. 3) etude des croyances, mythes, oeuvres poetiques ou figurees mettant en scene des plongeurs litterature : oeuvres de sannazar, parthenius les grands mythes de plongeurs : gilgamesh, thesee, glaucos, scyllias, le plongeur sicilien, l'homme marin (17e et 18 siecles). Rapport entre ces divers mythes. 4) etudes des progres techniques, reels ou fictifs dans les textes ou les gravures. 5) le declin de la plongee libre a la fin du 18e siecle. Annexe : presentation de quelques textes inedits (paris, archives nationales) decrivant ces plongees
From literary, geographic, archeological documents : 1) study of technics used by the divers : underwater moving, ballast, decompression, underwater vision, apnoea diving accidents training performance evaluation : time, depth physiology 2) diving-practices : sponge and coral cutters, pearl and purple fischers, caulkers, military-divers, wrecks salvagers, legislation of salvages some examples : geece, persian-gulf, india. . . 3) legendary divers : gilgamesh, thesee, glaucos, scyllias, the sicilian diver. 4) technical improvements, or fiction ? some descriptions of divingequipements 5) decline of free-diving in the end of the 18e century : appendix : national archives, old royal navy : some unpublished documents describing divers

Little did Hadrian know in 130 A.D. that when he deified his beloved departed Antinous, in order to provide a unifying symbol of worship for his diverse empire, that he was instead creating a lasting symbol of the antique world. This thesis examines the power of nostalgia and its successful use by two formidable men from different eras in Rome: The Emperor Hadrian and the extravagantly wealthy Renaissance merchant Agostino Chigi. Though separated by centuries, each man used the nostalgic allure of the beautiful youthful male figure of Antinous to gain power and influence in his own time and to leave a lasting impact on generations to come. Using the statue known as the Farnese Antinous I will show that these very different men were not so different after all: each understood the human tendency to romanticize the past, and each attempted to evoke a feeling of nostalgia for the past from those they sought to “conquer.” Hadrian used portraits of Antinous to unite an empire and cement his place in history; Agostino used one of those very same portraits in commissioned artworks by Raphael to earn his place among the nobility of his day, and to leave a lasting legacy for his descendants.

Parmi les nombreux sculpteurs francais qui affluent en espagne dans la premiere partie du xvie siecle, etienne jamet, ne a orleans en 1515 et devenu esteban jamete, se remarque pour trois grandes raisons: - contemporain de juan de juni et eleve de felipe vigarny, deux autres francais, il s'en distingue par la continuite de son style classique et une hispanisation limitee a la profusion et au gras du decor; sa sculpture toujours ornementale, sans pathos ni froideur, s'inscrit dans un cadre architectural rigoureux; - inspire par des humanistes, ses decors sculpturaux constituent le plus souvent des programmes ou les symboles a l'antique tiennent une grande part, traites dans un esprit italianisant; -suspect de lutheranisme, il est arrete par l'inquisition en 1557, et le texte de son proces fournit notamment son itineraire en espagne, partage entre dix ans d'errance de la vieille castille a l'andalousie, puis vingt ans de relatif isolement a cuenca ou il meurt en 1565; - ses oeuvres majeures sont au salvador d'ubeda et dans la cathedrale de cuenca
Among those french sculptors rushing to spain during the first part of the xvith century, etienne jamet, born in orleans (1515), becomes esteban jamete, and is to be remarked for three main reasons: -contemporaneous of juan de juni, apprentice of felipe vigarny, two other french artists, he differs from them by the continuity of his classical style and an hispanism limited to profuseness and thickness of the ornament, far from either pathos or coldness, and always included in rigorous architectural frames; - inspired by humanists, his sculptures constitute most of the time programmes where classical symbolism take a large part, and are dealt with in an italian spirit; - suspected of lutheranism, he is arrested by the inquisition in 1557, and the manuscript of his trial porvide us notably with his itinerary though spain, divided in ten years travelling from old castile to andalusia, then twenty years of relative isolation in cuenca, where he died in 1565. -his most important works are in the salvador church of ubeda and in the cathedral of cuenca

Les « Nouvelles françaises » de Segrais, l'ouvrage qui, selon tous les historiens de la littérature narrative du dix-septième siècle, a rendu possible la Princesse de Clèves, n'ont bénéficié jusqu'à nous que de quelques approches rapides qui ont visé à définir leur formule narrative. Notre projet consiste à trouver des solutions à des problèmes que l'œuvre pose nettement : ses secrets de création, ses procédés de composition, l'idéal romanesque qu'elle consacre et, enfin, la conception de son auteur de l'art de la nouvelle
The “Nouvelles françaises" of Segrais the work which, according to all the historians of the seventeenth century narrative literature, has made possible the "Princesse de Cleves" has benefited up now but a few brief approaches that have aimed at defining their narrative method. Our project consists in finding solutions to problems that the work raises clearly: its secrets of creation, processes of writing, the novelistic ideal that it stalls and, finally, its author’s conception of the short story art

Étudiées dans le domaine musical, littéraire ou esthétique, les formes de la variante et de la variation sont appliquées ici à une discipline très différente, plus concrète, le dessin italien de la renaissance. Ce travail présente à la fois la genèse et les formes diverses prises par la variante dessinée à partir de la seconde moitié du XVe siècle pour en comprendre les développements et le plein épanouissement au XVe siècle. Les variantes jouent un rôle de premier plan dans la constitution de répertoires de formes réutilisées par l'atelier ou par ses propres membres, et dans la diffusion des modèles employés par un atelier à diverses fins utilitaires. La typologie des variantes est fondée sur une définition stable où la variante se rapporte à une forme de référence ou invariant dont chaque alternative peut engendrer des développements autonomes, concrétisés ou non par la suite. La variation dans le dessin est ici définie comme une suite de dessins qui modifient les formes ou les contenus thématiques, mais tous développés selon un même principe initial : cette expression de la variation est particulièrement évidente dans les changements iconographiques ou les mutations du thème peuvent en transférer le sens et se déployer au moyen de variantes pour former ensemble une variation. Selon le contexte, les variantes peuvent édifier ou modifier la disposition d'une figure, d'un groupe, structurer la composition générale, contribuer a créer l'illusion du mouvement et des effets rythmiques inhérents à la mimesis, ou enfin être un moyen efficace, par un effet répété mais toujours varié, de traduire la varieta dans laquelle se condensent plusieurs éléments propres a la variante comme à la variation.

Ce travail propose une serie d'analyses de diverses formes de realisations artistiques decoratives, fixes ou ephemeres, concues a rome et a florence pour francois 1er et ferdinand 1er de medicis, essentiellement entre 1575 et 1590. Les modalites du decor sont a la fois materielles et thematiques. Materielles avec des voutes peintes a fresque, des plafonds a caissons ornes de tableaux, des grottes couvertes de substances minerales diversement modelees ou agencees, des structures ephemeres peintes ou sculptees, des decors et costumes de theatre, des allegories vivantes, des automates , etc. Thematiques puisque la these est divisee en quatre sections consacrees au rapport du decor (1) au politique a travers les ideologies territoriales et dynastiques, (2) a la cosmologie (elements, planetes), (3-4) aux sciences de la nature (ornithologie, botanique, mineralogie, teratologie), au collectionnisme eclectique et a la poesie burlesque. Le premier point traite des entrees princieres a florence et a pise, et de leur rapport aux decors fixes. La seconde partie est dediee aux programmes cosmologiques, astrologiques et magiques du palazzo firenze, de la villa medicis (rome) et des intermedes florentins de 1589. Dans la troisieme, il est surtout question de decors lies aux jardins : le stanzino degli uccelli a rome, les grottes de boboli et de pratolino ainsi que leurs automates. C'est aux grotesques qu'est consacree la quatrieme section, a partir du vaste ensemble de la galerie des offices, examine dans sa relation aux kunst-und-wunderkammern, a l'hybride et au monstrueux et au genre litteraire burlesque
This work presents a series of studies of different forms of artistic decorations, permanent or ephemeral, conceived in rome and in florence for francesco i and ferdinando i de' medici, mainly between 1575 and 1590. The modalities of the decorations are both material and thematic. Material with frescoes, easel or wood-paintings in ceilings, grottoes covere d by mineral substances variably mould or designed, ephemeral structures, settings and costumes, automatons, etc. Thematic since this thesis is divided into four sections dedicated to the relationships of the decoration with (1) the political sphere as seen through territorial and dynastic ideologies, (2) to cosmology (elements, planets), (3-4) to the natural sciences (ornithology, botany, mineralogy, teratology), as well as to eclectical collectionism. The first point deals with princely entries in florence and pisa, and with their relationships to permanent decorations. The seco nd part is dedicated to the cosmological, astrological and magical programs at villa medici and palazzo firenze in rome, and in the florentine intermezzi of 1589. The third section is mainly about gardens : the "stanzino degli uccelli" in ro me and the grottoes of boboli and pratolino with their automatons. The fourth part treats of grotesques, from the large decoration of the uffizi gallery studied in its structural links with the kunst-and-wunderkammern, the hybrid and the monstruous, and the burlesque poetry

La evolución de los planteamientos arquitectónicos tras el Barroco derivó, tras un complejo periodo de análisis, en una nueva arquitectura apoyada en unos condicionantes absolutamente nuevos. Criterios revisionistas, historicistas, técnicos o simplemente apoyados en la intencionalidad estética o expresiva dieron lugar a un nuevo estilo de difícil y, desde luego, amplia definición. A finales del XIX, también como respuesta a un largo periodo de indefinición y dogmatismos, surge el Art Nouveau.La ciudad de Cartagena presenta algunas notables singularidades en este último periodo que la hacen especialmente interesante en el campo de la ornamentación y estética arquitectónica. Sus condiciones económicas, geográficas y la personalidad de algunos de los arquitectos afincados, determinaron el desarrollo de un eclecticismo y modernismo singulares que acabaron por fundirse, generando a partir de los primeros años del siglo XX, un panorama estético digno de análisis.
The evolution of architectural approaches after the Baroque period resulted, after a complex period of analysis, in a new architecture supported by some entirely new constrains. Revisionism, historicist, technical or simply based on a aesthetic or expressive intentions criteria led to a new kind of style which was difficult to define. In the late nineteenth century, partly in response to a long period of uncertainty and dogmatism, emerged the Art Nouveau.In this period, the city of Cartagena presents some remarkable peculiarities which makes especially interesting in the field of aesthetic and architectural ornamentation. Its economic and geographic conditions, together with the personality of some of the architects settled, determined the development of a unique eclecticism and modernism that eventually merged, resulting, from the early twentieth century, in an aesthetic landscape worthy of analysis.

v anglickém jazyce The dissertation thesis with title "Presumptions of the formation of the modern men's suit" elaborates the general and unique features in the typology of men's court, military and ecclesiastical clothes. Research, which is based on written, iconographical and material sources, is aimed at environment at the court of the Austrian Habsburgs in early new ages from the end of the 15th century till beginning of the 90s of the 18th century having respect to history of clothing in the in Czech countries in the context with European clothing culture. The conception of the thesis goes out from the approach to men's suit in the history of clothing as to the cultural discipline. The main theoretic-metodological basis is investigsation of the general and the unique features in the concrete types of the men's clothing, which are characterized most of all of the contemporary construction (cut), material (cloth) and colours of the men's clothing and which has got the style-forming importance by means of these general features. The results of the research work amplifies not only the knowledge in the area of the clothing history, but also brings the possibility of practical application of this knowledge to increase of the cultural values of written, iconographical and material memories with time,...

Examining a group of pictures painted in the early-to-mid 1630s, this dissertation sets out to demonstrate that Nicolas Poussin’s turn to the subject of dance helped him transform his style from the sensuous Venetian manner of his early years to the cool, crisp, relief-like approach that would characterize his mature work and form the basis for French Classicism in subsequent decades. Painting dancers allowed Poussin to work through the problem of arresting motion, to explore the affective potential of the body represented, and to discover a measured, geometric compositional method capable of containing and harnessing that potential. The resulting pictures, painted in Rome, were warmly received in Paris by a group of early collectors that included dancers, patrons, amateurs, and theorists of another modern French art: the ballet de cour. Ballet’s cultivation of a fiercely controlled physicality, its wild Dionysian characters and learned Apollonian conceits, above all, its insistence on a hidden geometric order underlying the chaos of embodied experience primed early French observers of Poussin’s dancing pictures to recognize something of themselves in his new approach. Though Poussin did not set out to define French Classicism, and though his brief service as premier peintre to Louis XIII demonstrates how ill-suited he was to the role of official artist, the fact that his dancing pictures shared so much—on the level of patronage, iconography, even, perhaps, theoretical underpinnings—with the ballet de cour may help explain why these works (and, indeed, Poussin himself) were so eagerly appropriated by France in the Classical Age.

anglicky: Title of the thesis: Molière in modern Czech theatre Keywords: Molière, preciousness, classicism, baroque, comedy, commedia dell'arte, comedy-ballet. Abstract: The thesis treats the works of Jean-Baptiste Poquelin also known as Molière and their legacy in modern Czech theatre. It characterizes French society of the seventeenth century and the main features of contemporary philosophical and artistic styles, focusing on the dramatic creation of classicism. It also summarizes the life of Molière and his work, subdividing it according to generic, formal and thematic criteria. Within this frame, it gives a detailed analysis of the most important plays, representing the individual categories. It also studies the modern Czech theatrical stage. Focusing on the historical context, it explores the development of the stage from the end of the Second World War until nowadays. It gives a complex outline of Molière's plays presented during the different periods, evaluating the influence of cultural and historical context on the particular interpretation. This evaluation is based on the information presented in contemporary press and promotional materials of the given theatres and thus examines Molière's plays performed on Czech theatre stages in the present. On the basis of a questionnaire...

Dissertação de mestrado em Património Cultural
O Bom Jesus do Monte é um santuário de excelência que se localiza nos arredores da cidade de Braga e que merece a atenção e admiração dos bracarenses, assim como dos inúmeros turistas, crentes e não crentes, que se deslocam ao local. Esta pesquisa tem como objetivo estudar alguns aspetos da cultura greco-romana presentes no Bom Jesus do Monte, em Braga. Existem vários estudos sobre este sacro-monte, porém as referências à mitologia clássica presentes no local são um ponto pouco explorado e abordado nestes estudos. Neste sentido, deu-se especial atenção aos ornamentos que aludem a figuras da mitologia greco-latina, sendo necessário referi-los e estudá-los, destacando-os pela sua importância e simbologia, em articulação com o local ao qual foram destinados, e explorando aspetos que ainda não tenham sido apreciados em estudos anteriores. As inscrições epigráficas também são um ponto abordado nesta investigação, uma vez que, estando presentes, o seu entendimento se torna indispensável para os que queiram tentar compreender as intenções que nortearam a criação dos vários programas que integram o conjunto total deste sacro-monte tal como ele se nos afigura hoje. A preservação do local, mudanças a que esteve sujeito e os sinais visíveis de erosão do tempo são também abordados neste estudo. Deu-se também especial atenção à criação de uma proposta de rota para turistas aplicada ao percurso deste sacro-monte para facilitar uma maior compreensão da evolução do local das origens e até à atualidade e sua importância. Em suma, o Bom Jesus do Monte é um local sagrado que passa direta e indiretamente uma mensagem impressionante de uma obra de arte completa, que reflete e comunica a cada instante um discurso tanto religioso como artístico a quem lá passa, pelo que é importante tentar estudá-la, percebê-la e comunicá-la aos visitantes interessados.
Bom Jesus do Monte is a sanctuary of excellence in the city of Braga that deserves the attention and admiration of the various tourists, believers and non-believers, who explore this place. This research aims at a study on some aspects of Greco - roman culture present in Bom Jesus do Monte, Braga. There are several studies about this sacrum-mount but the allusions at aspects of classical mythology present in this place are seldom explored and mentioned in these studies. Therefore, special attention was paid to the ornaments that refer to classical mythology; this research meant to identify the mythological goddesses, gods and heroes alluded to in various elements present in this architectural and landscape complex, paying attention to the relation between mythological figures and their placement and exploring aspects that were not yet referred to in previous studies. Latin epigraphic engravings were also studied because, having been intended and done, if one wants to get a glimpse into the intentions of the mentors, one has also to understand them within the overall arrangement of this heritage site. The preservation of the place, changes over time and the visible signs of erosion are also addressed in this study. Attention was also paid to the creation of a proposal for a tourist route along this sacrum-mount with the intention of providing information for a better understanding of various levels of meaning and the evolution of this complex. Bom Jesus do Monte is a sacralised place that conveys, directly and indirectly, an impressive message of a total art work that, at every moment, provides discourses both religious and artistic to those who wander there, reasons why it is so important to try to study and to try to understand it.

This master thesis is concerned with biblical epic poem (or "epos") by Slovak author Augustin Dolezal, called Memorial Tragedy (1791, originally in Czech language). In this type of genre author takes well known biblical stories, such as fall of man or murder of Abel and adds his own fabricated circumstances. In this particular case author is trying to provide reader with catechesis and religious education on top the tale. Tragedy is mainly focused on the nature of sin and its connection to human condition, fall of man and possibility of evil in the world. Method of this paper is mainly theme analysis and comparison with Bible and its well known exegesis throughout the history. It is focused on comicality, which shall be defined in the theoretical part. Practical part attempts to come up with interpretation of the text in such a way, that certain themes, tropes or figures from the literary text are interconnected with certain features of comicality and shown as such. Keywords: Comicality, Biblical Epic Poem, Augustin Dolezal, Baroque, Classicism, Carnivalesque

The dissertation evaluated the formal, stylistic and contextual analysis of the painting oeuvre of the Cremonese native Antonio Campi. Monographic elaboration of Campi's oeuvre complement to the existing range of syntheses a number of information that has been in the literature so far omitted. The work assessed Antonio's oeuvre on the revision of archival material preserved in Milanese and Cremonese state and church archives, as well as by the means of thorough study of the secondary literature. Chronology of Campi's production was based on the stylistic and formal analysis and at the same time it has been enriched by a number of comparisons of the Lombardy-Ligurian region. Perspective at Antonio's oeuvre was accompanied by drawings and panel paintings that have emerged in the art market in recent years. With this thorough analysis, it became clear that the simple definition of an older Italian scientific literature that had Antonio Campi understood as a painter, who by his work formed the basis of Caravaggio chiaroscuro approach in the last decades of the 16th century and in the early years of the 17th age, proved to be inaccurate. It became clear that with this view we can not identify ourselves any more. Constant changes in mood, surprise, unpredictability, restlessness and individuality, the...