Dissertations / Theses on the topic 'Baroque Arts'

This thesis examines visual devices that distort, invert and toy with the conventions of linear perspective. The main object of analysis is Samuel Van Hoogstraten's Perspective Box with Views of a Dutch Interior (1655-1660), a work that is unique for its consummate application of three distinctive modes of visual representation: linear perspective, trompe l'oeil and anamorphosis. Drawing on recent literature with regard to renaissance and baroque perspectival theories and practices, this thesis argues that Van Hoogstraten's Perspective Box exposes the manner in which baroque forms of perspective, such as trompe l'oeil and anamorphosis, reveal the invisible mechanisms of renaissance linear perspective through the manipulation of its methods. In this way, Van Hoogstraten's perspective box interrogates, but does not invalidate, the inescapable structure of the perspectival system.
Cette thèse examine les systèmes visuels qui déforment, inversent et jouent avec les conventions de perspective linéaire. Le principal objet d'analyse est Perspective Box with Views of a Dutch Interior (1655-1660) par Samuel Van Hoogstraten, un travail qui est unique pour son application consommée de trois modes distinctifs de représentation visuelle: perspective linéaire, trompe l'oeil et anamorphisme. En engagé avec la littérature récente sur les théories et pratiques perspective de renaissance et baroque, cette thèse se dispute que la boîte perspective de Van Hoogstraten expose la façon dont les formes baroques de perspective, telles que le trompe l'oeil et anamorphisme, révèlent les mécanismes invisibles de la perspective linéaire de la renaissance par la manipulation de ses méthodes. De cette façon, la boîte perspective interroge, mais n'infirme pas, la structure inéluctable du système de perspective.

Dietrich Buxtehude (ca. 1637-1707) was a North German composer of the mid-Baroque period. He lived in a time and place in which classical rhetoric, the study of oratory, influenced education, religion, and music. Applying the definition of rhetoric as the art of persuasion, this study surveys the different persuasive strategies employed by Buxtehude in his various keyboard genres. The elements considered in this inquiry include the affects of keys and modes, rhetorical figures, and structures of speeches as applied to music. The style and setting (ethos), intellectual content (logos), and emotional effect (pathos) are explored in each genre as elements of rhetorical persuasion. This study reveals that different genres of Buxtehude's keyboard music utilize different rhetorical strategies and techniques. These strategies vary according to the purpose of the music (i.e., secular or sacred), the presence or absence of an associated text, and the form of the composition. The chorale preludes, since they are driven by texts, use figures such as hypotyposis, assimilatio, anabasis and catabasis, to musically highlight important words in the text, or to amplify the text's underlying meaning. The suites, and parts of the variations, reflect the affects of the various dance movements as described by Johann Mattheson, Gregory Butler, and Patricia Ranum. The rhetorical nature of contrapuntal works is considered in terms of solving a musical issue through musical proofs, as described by Daniel Harrison. Finally, the praeludia embody the rhetorical form of the classical dispositio, or form of a forensic speech. These sectional works are arranged in such a way as to advantageously present both emotional and intellectual facets of a musical oration.The study also asserts that it is stylistically appropriate, given the audience-centered values of rhetorical persuasion, to perform Buxtehude's manualiter works at the piano, providing that they are played in a manner consistent with the style and structure of the music. This view is fortified by evidence that Baroque musicians, compared to modern musicians, were far less specific about instrumentation and musical details. An appendix offers specific performance suggestions for pianists in each of the works discussed in the study.

Le peintre Francisco Rizi (Madrid, 1614-Madrid, 1685), issu de la communauté d’artistes italiens qui gravitait autour de la Cour d’Espagne depuis la construction de l’Escorial, est l’une des figures majeures de la peinture baroque espagnole de la seconde moitié du XVIIe siècle. Cette thèse présente uné étude monographique qui étudie sa carrière et ses liens sociaux et professionnelles, étude accompagnée d'un premier catalogue raisonné de son œuvre. Malgré le fait que Francisco Rizi ait été le peintre attitré d’une Cour dont le souverain était à la tête d’une constellation d’états européens, où on était au courant des principaux courants artistiques du continent, sa vie et son œuvre ont été souvent analysés dans une approche très localiste. Par conséquent, l’image traditionnellement véhiculée a été celle d’un artiste de second rang qui n’eut guère de portée. Mais contrairement à cette idée reçue, la carrière de Francisco Rizi fut loin de se cantonner à un cadre local. Avec cette étude, on redécouvre un artiste inventeur de modèles de sculptures, d’architectures, de scènes de théâtre et même de pièces d’orfèvrerie. On révèle là un plaisir de la forme qui apparente Rizi à des artistes baroques tels que Rubens, Bernin ou Le Brun. Pourtant, dans son cas, aucun mythe ne s’était forgé. Bien au contraire, ses contributions en architecture et en sculpture lui valurent une véritable diabolisation. Dans ces domaines, l’artiste fut condamné par la critique néo-classique comme responsable de la décadence des arts en Espagne sous le règne de Charles II, mépris qui finit par déteindre sur son œuvre peinte. D’un autre côté, ses contributions pour le théâtre ne laissèrent aucune trace et tombèrent dans l’oubli. Notre contribution permet de confirmer que Rizi joua un rôle majeur dans les domaines de l’architecture décorative, dévoile tout à fait son rôle dans la conception de modèles pour la sculpture et permet de détailler pour la première fois les modalités de la confection des décors de théâtre. De toutes ces interventions, restées pour la plupart inédites, s’offre ici un premier corpus.Par ailleurs, cette thèse a mis l’accent sur les relations professionnelles du peintre et sur ses modes de production, sans pour autant négliger l’étude stylistique de sa production picturale et de ses dessins, ainsi que des rares gravures d’après ses compositions. Le catalogue de ses œuvres, expurgés de celles indûment attribuées au maître et augmenté de nombreux inédits, permet désormais une perception plus juste de l’art de Rizi. Toutefois, il faut reconnaître qu’à ce stade de la connaissance de l’artiste, ce catalogue ne peut inclure que les œuvres dûment attestées par la documentation connue à ce jour, ainsi que celles présentant sans équivoque le style typique du peintre. Des futures recherches devront élargir ce catalogue aux éventuels dessins présentant des ébauches et des études partielles encore non identifiés, ainsi qu’aux œuvres réalisées en collaboration avec d’autres artistes. Par ailleurs, les résultats de cette recherche permettront de faire surgir très certainement, on l’espère, des œuvres nouvelles à présent dispersées et inédites. Certains pans de l’œuvre de Rizi ont été redécouverts. C’est le cas notamment de son œuvre comme architecte et comme décorateur de fêtes théâtrales de la cour. Mais il est ainsi également de sa production de peintre murale, dont on connaît mieux à présent ses contributions et son organisation. Ces aspects permettent de nuancer la vision qu’on avait jusqu’à présent de l’artiste, dévoilant un rôle de premier ordre sur la scène artistique à Madrid pendant la seconde moitié du XVIIe siècle, presque incontournable dans les chantiers les plus prestigieux de la Cour. Rizi ne fut pas un peintre exclusivement religieux, comme les œuvres aujourd’hui conservées ont pu le suggérer. Longtemps resté méconnu et incompris, Rizi ne réussit pas seulement à devenir l’un des artistes les plus importants de son temps à travers une carrière brillante comme peintre de cour, mais également dans l’influence qu’il a eu sur son atelier, sur ses collègues et sur les artistes plus jeunes.Notre étude sur Rizi, cependant, ne s’est pas cantonnée à la confection du catalogue raisonné. Elle a également mis l’accent sur la relecture et l’analyse des sources positives et une étude prosopographique de l’entourage de l’artiste (dans la mesure où l’état de la question nous l’a permis). L’étude du milieu d’origine a permis de mettre en lumière que Rizi fut un héritier. Certes, il était le dernier représentant de toute une tradition artistique et le dernier bénéficiaire d’une stratégie du groupe socio-professionnel de l’ancienne colonie d’artistes de l’Escorial. Son père, le peintre Antonio Ricci, bien que peintre de second, voir troisième rang, abritait des grandes ambitions pour sa propre carrière et pour celle de ses fils. Ses relations dans les milieux des courtisans, notamment parmi les Italiens, ses affaires et ses projets variés à Madrid invitent à le confirmer. Dans le cadre d’une stratégie certainement bien réfléchie, Antonio plaça ses enfants chez deux maîtres peintres très en vue à la Cour, tous les deux d’origine et éducation italiennes. Juan Andrés a été placé chez le Père Mayno, maître de dessin du Roi, et Francisco chez Carducho, peintre du Roi à la tête de l’atelier le plus important de Madrid. Fortuné et influent, peintre érudit par excellence, Carducho était haut placé au sein de l’élite artistique et littéraire. Il transmit à Francisco l’héritage de la tradition académique du peintre inventeur cristallisé dans la Péninsule autour du chantier de l’Escorial, qui y joua un rôle comparable de celui de Fontainebleau dans le contexte français, et de l’éphémère Academia de San Lucas à Madrid. Mais l’héritage légué à Francisco par Antonio Ricci et par Vicente Carducho ne fut pas seulement d’ordre théorique et artistique. Il consista également en des relations socio-professionnelles dans le milieu des peintres, sculpteurs et architectes qui se révélèrent capitales dans la carrière de Rizi, mais aussi des relations dans les échelons de l’administration du Palais et dans les cercles ecclésiastiques et aristocratiques.La mort de son père et de Carducho en 1635 et 1638, alors que Rizi (à ce que l’on croit) n’avait pas encore démarré sa carrière en tant que maître indépendant, ne lui fit pas de tort ;bien au contraire. Ceci l’obligea, probablement, à offrir ses services dans d’autres ateliers, favorisant aussi, vraisemblablement, cette inventivité et cette capacité d’adaptation que nous avons signalées comme caractéristiques de l’œuvre de Rizi, caractéristiques qu’une formation dans un seul atelier dirigé par un seul et même maître aurait pu étouffer, éventuellement. Ses expériences dans des ateliers en compagnie de Pedro de la Torre, Francisco Fernández, Núñez del Valle et Antonio de Pereda (et peut-être aussi Cosimo Lotti) ont dû donner à Rizi l’opportunité d’enrichir et contraster son enseignement auprès de son père et de Carducho, et de ne retenir que ce qui pouvait lui être utile dans la suite de sa carrière. Mais surtout, Rizi put compléter son savoir-faire en matière d’organisation et de production à plusieurs mains, un aspect dans lequel il passera maître. Les dessins et la confection de modèles pour des tiers constituent un pan essentiel de sa production, négligé auparavant, et que notre étude a permis de mettre en lumière.Les relations tissées grâce à ses origines ouvrirent à Rizi les portes pour recevoir des commandes au Palais, et l’introduire dans les cercles du cardinal Moscoso et l’inquisiteur général Arce y Reinoso et du premier ministre Don Luis de Haro. Ainsi, les deux prélats devinrent ses protecteurs au début de sa carrière palatine. Il devint leur « créature », selon le langage de la cour. En effet, Rizi sut tirer profit des bouleversements produits à la Cour d’Espagne pendant les années qui suivirent la chute du ministre Olivares, à la différence d’un Alonso Cano ou d’un Antonio de Pereda. Dès la fin de 1648, à partir du mariage de Philippe IV avec Marianne d’Autriche, les commandes du Palais se succéderont, avec le seul malentendu produit pendant la Régence, en raison de la crise politique vécue alors. Sur la fin de sa carrière, les soutiens du cardinal Aragón, du prince Juan José d’Autriche et du jeune Charles II viendront confirmer sa place de choix à la Cour, et des commandes de prestige se suivirent.Les sources auxquelles Rizi s’est abreuvé dans son art sont multiples et variées. Il a hérité de son maître Carducho la maîtrise de la grande composition dans les tableaux d’histoire, à la laquelle il a su ensuite ajouter le dynamisme et la théâtralité du rubénisme. Ensuite et en parallèle, il s’est essayé dans l’introduction de la mode néo-vénitienne en Espagne, prenant principalement les modèles du Tintoret comme référence, pour devenir ensuite l’initiateur de l’intégration des nouveautés de Pietro de Cortona et de Carlo Maratti provenant de Rome, celles de Agostino Mitelli et de Michelangelo Colonna de Bologne et celles de Luca Giordano de Naples. Ces influences le situèrent à l’avant-garde de la production de grandes décorations et de tableaux d’autel monumentaux et lui permirent d’exercer une influence durable sur les peintres plus jeunes, même après sa mort. On en jugera à travers l’imposant Martyre de saint Gênes d’Arles et du décor de San Antonio de los Alemanes, qui s’inscrivent au rang de ses chefs-d’œuvre. L’œuvre de Rizi représente à lui seul l’évolution de la peinture d’histoire baroque à la cour d’Espagne, passant du style sage et monumental héritier de l’école toscane, au rubénisme plus mouvementé, au néo-vénétianisme plus chatoyant et décoratif, aux effets de la quadratura pour finir sur les grandes compositions peuplées de personnages et sagement agencées qui triompheront à la fin du siècle et prépareront l’arrivée à Madrid de Giordano. L’ardeur avec lequel ses collègues, ses élèves et ses suiveurs ont assimilé et perpétué l’une ou l’autre de ces tendances, voire plusieurs, ont contribué à conférer à la peinture du Baroque plein réalisée à Madrid l’homogénéité et la haute qualité qui la caractérisent.
Doctorat en Histoire, art et archéologie
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Ken Russell (1927-2011) was a renegade talent and the self-styled enfant terrible of British cinema. His legacy as a film-maker consists of a large number of films on the lives of artists, mainly composers. But Russell’s approach to artist biography was highly unorthodox: rather than reconstruct a factual account he offered a deeply personal interpretation of artists’ lives based on his own understanding of their work. In a programmatic text for his film on Mahler (1974), Russell explained that his films ‘evolve through a stream of consciousness in which the man and the myth, the music and its meaning, time, place, dream and fact all flow and blend into the mainstream of the film itself’ and that ‘my film is simply about some of the things I feel when I think of Mahler’s life and listen to his music’.This book is an attempt to explain what that statement means and to unpack its implications for the practice of life writing. It takes a baroque approach to performance and performativity to show how Russell not simply made highly inventive films on other artists, but also constructed those films as a kind of self-portrait. Russell’s work then becomes a performance of self through art. In four chapters of detailed analysis this book reconstructs Russell’s method, from the very first films he made for the BBC in the early 1960s through his major feature films of the 1970s and 1980s.
Doctorat en Histoire, histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished

Theater
M.F.A.
This thesis examines, details, and evaluates the process used while executing the costume design for Temple University's 2013 production of The Liar by David Ives. I will discuss each part of the design process from pre to post production and reflect on the process and choices made.
Temple University--Theses

The purpose of this thesis is to analyze New World Baroque art as a medium of syncretism allowing the reconciliation and fusion of discrepant cultures. This study will explore the region of New Spain as defined by the Baroque period by analyzing Mexico as a place whose identity was defined by the transcultural and hybrid components of the Baroque and as a place where a New World Baroque aesthetic first started to appear. Transculturation and hybridization will be analyzed historically and aesthetically as factors for the creation of a New World Identity. The term New World Baroque will be used to define art in the Spanish colonies during the Baroque period, the term New Spain will be used to refer to colonial Mexico, transculturation will refer to the exchange of ideas and intermingling of cultures and hybridization will refer to the outcomes of such. This analysis will begin by providing a definition of Baroque with the purpose of establishing an understanding of the main characteristics of the movement aesthetically and chronologically. Spain will be analyzed to provide evidence of the effects of coming into contact with a multicultural society on the Baroque aesthetic; followed by a historical analysis of the events that would result in the creation of the new world. Then transculturation will be analyzed as an answer to the conquest and as guided by the Catholic Church. Then a timeline will list important events leading up to the Baroque period, and finally an exploration of hybrid art will serve to exemplify a well-established hybrid identity culminating with a brief analysis of some of Frida Kahlo’s work as an embodiment of the New World Baroque aesthetic.

This practice-led research project investigates ways to account for contemporary photographic practices that reside in the continuum between the representational and the abstract. As an inquiry with multiple entryways, it is an attempt to offer a language through which to describe and evaluate photography that is not easily situated in existing traditions. This thesis argues that photographs, which are difficult to locate through conventional readings, can call forth new ways of deciphering and translating our affective experience of everyday life and give voice to difference. This project is, therefore, also a generative contribution to the emergent literature on ordinary affects within the visual arts—a subject which has been more rigorously considered in literature, theatre, cinema, and philosophy. In offering new possibilities for thinking about contemporary photography, through analysing its technical means of production and the related conceptual implications, this research moves towards a better understanding of a photograph’s affective charge. As an interdisciplinary entanglement between philosophy, art theory, contemporary artworks, and a studio-based practice, this project does not seek to prove if something is true, but rather looks to challenge traditions, make new connections, and create lines of flight through unconventional assemblages. In drawing upon the work of Gilles Deleuze to map and contextualise the research findings, this thesis offers encounters that operate beyond representation to create new images of thought. Through examining the concepts of minor photography, the transnarrative televisual, and the baroque mise-en-scène, this research asserts the potential of expanded photographic practices to dismantle habits of perception and create alternative pathways for imagining the world.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text

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Bachelors
Arts and Humanities
Art History

Artemisia Gentileschi’s Susanna and the Elder’s trilogy consisting of her 1610, 1622 and 1649 paintings is a self referential series based on the artist’s own feelings of betrayal by the men in her life. These works are comprised of her first canvas showing youthful fear, and a very importantly timed work in mid-career symbolizing commercial success. In these, she relates the Apocryphal tale of Susanna and the Elders to events that are happening to Gentileschi at each stage of her life and career, aging the figures of Susanna and the Elders along with the appropriate time in her own life. In the final canvas of the trilogy, Gentileschi brings the work to full circle, using the story to make peace with her past by visualizing a reconciliation with her father Orazio, from whom she had been estranged from her most of her career, both as parent and as artistic mentor.

Artist Statement I have always found comfort and warmth in my family. When I am not with them, I find myself clinging to the objects they leave behind as a substitute in their absence. As I began to re-create these objects through paintings and ceramics, I realized that I was creating symbolic portraits of my family. These portraits are tangible family moments preserved in pigment and clay. In recent years, my siblings were deployed to war and I began to represent them as various instruments. These instruments, both musical and tools of war, chronicle who they were and who they are now. Where I once presented guitars and violins, now I include rifles and bombs. In my painting process, I use subtle lighting techniques to reveal objects hidden in the shadows. What little light is present reveals a trigger on a rifle or a string on a violin. I want the viewer to consider firing a shot or striking a chord. My ceramic sculptures also take on both attributes of weaponry and music. I sculpt in porcelain and all the pieces are given the resonating chamber (f-holes) of a violin. Although the pieces resemble bombs and grenades, the hollow white porcelain contrasts the destructive purpose of a weapon to beautiful forms that may be capable of producing a tune. These pieces mirror how I see my siblings, as once beautiful souls that are now used as instruments of war.

The purpose of this thesis is to question the art historical notion of influences, specifically in the case of the seventeenth century Spanish Baroque artist Diego Velázquez. His work is often seen as an extension of the realist movements in Flanders and Italy at the turn of the seventeenth century, but that view is extremely reductive. Velázquez strove to depict the world around him as he saw it, attempting to incorporate the transient nature of the scenes before him into his works. The city of Seville, in which Velázquez lived and worked, provided the setting and cultural elements that would orient his work He was able to simultaneously break free of the conventions that had been placed on artists in the early seventeenth century and embrace his proto-impressionistic artistic style while developing himself as an artist. His paintings, especially his bodegones, showcase the low-class culture and citizens of Seville. Velázquez's subjective representation of these low class subjects and scenes allow him to re-create the city of Seville on his canvas, allowing the modern-day viewer to experience the represented environment. Velázquez's artwork allows his viewers to be immersed Interweltsien (in-the-world) and experience the world that he was depicting. This thesis will use both Place Theory and Phenomenology to better understand the works that Velázquez created while he was living in Seville.

The aim of this study is to show how much Nicodemus Tessin the younger was inspired by the architecture of Gianlorenzo Bernini, while building the Tessinska palace in Stockholm. The investigation is based on comparative analysis of Tessinska palace with various architectural works by Bernini. The author also investigates the influence Bernini had on Tessin t.y. by studying the personal relation between the architects.The investigation shows that every external surface of the Tessinska palace contain many architectural details and elements that share similarities or look equal to the ones used by Bernini in a variety of his roman buildings, to name a few: Palazzo Barberini, Palazzo Ludovisi, Collegio di Propaganda Fide, Palazzo Chigi and more. The analysis of the biographical background and relationship between the architects shows that Nicodemus Tessin t.y. was very influenced by Bernini and his work, which he writes about in several occasions in his works and notes. Investigation shows that Tessin t.y was using Berninis architectural details consciously and with full awareness.

Cette thèse propose, après délimitation chronologique et géographique du corpus, une définition de la comédie, expression du défoulement carnavalesque au sens le plus large du terme, mais également d'une morale collective. L'existence d'un pharmakos comique, expulse ou châtie avant que ne se déroulent les rites de fertilité, assure une structure initiale de laquelle ne s'écarteront expressément que quelques sous-catégories. La première partie, dans une perspective historique, démontre à la fois la permanence et l'évolution du travesti des deux sexes, d'abord transgression des lois religieuses puis simple élément d'intrigue. Le passage de certains schémas de l’Italie a la France, l’Espagne ou l’Angleterre permet d'étudier la différence de traitement esthétique (burlesque ou romanesque des situations), mais aussi les degrés de licence tolèrent dans les différents pays ou la sublimation des dramaturges eux-mêmes. La deuxième concerne plus précisément les affrontements à l'intérieur du cercle familial ; rivalité père fils puis luttes conjugales, au nom d'une morale assez floue ou la notion de "nature" semble l'emporter sur les règles imposées par les églises ou les états. La troisième partie démontre la volonté de réconciliation dans et par la comédie : le mariage, qui en constitue le dénouement naturel, peut-être inverse en fausses noces ou en divorce bouffon. Les fêtes traditionnelles, premier mai, Saint-Jean, marquent encore la survivance des rites de fertilité
This thesis intends, after setting chronological and geographical bounds to its corpus, to give a definition of comedy, as an expression of carnivalesque release, in the broadest meaning of the phrase, as well as of public morals. The existence of a comic pharmakos. Expelled or punished before the fertility rites are accomplished, initiates a pattern from which few subcategories actually differ. The first part, in a historical approach, demonstrates both the permanence and evolution of the male and female disguise, first a transgression of religious rules then a mere plotting device. The transferring of some schemes from Italy to France, Spain or England, allows one to examine the differences in aesthetic treatments (burlesque or romantic situations) and also the degrees of freedom permitted in the various countries or the sublimation by the dramatists themselves. The second part deals more precisely with the struggles inside the family circle: competition between father and son, conjugal strife’s - and their assessment on the grounds of rather dim morals where the idea of nature seems predominant over the rules of either churches or states. It studies rough music as a burlesque means of punishment. The third part demonstrates the desire for reconciliation in and by the means of comedy: the wedding, its specific catastrophe, may be inverted into false nuptials or ludicrous divorce. Traditional festivals, May Day, midsummer, also point to the survival of fertility rites

My installations are propositions for an imaginary world that relies on its own internal logic, a world of believability without recognition. While the work references landscape it also emphasizes its contrivance, as it is automatically estranged in an "unnatural" gallery setting. I subvert or de-familiarize the materials and processes that I use in the service of creating a fictitious environment. My places are impossible places. They are irregular, illogical, and unstable. Our imagination can be one of most dangerous things to psychological stability as it is an inventory of all things possible, no matter how irrational or improbable. The irrational is always an option, a lingering threat. The imagination seems to hate permissions and limitations, but is nevertheless lodged within them. I want to create a sense of nonsensical logic. If all things that can be imagined are logical possibilities, I want to find the place where fantasy seems to be just barely reality. If I can't have an inherent contradiction, I'll take an apparent one.

ABSTRACT THE ARCHITECTURE OF KNOWLEDGE: THE JESUIT COLLEGE OF OAXACA (XVI-XIX CENTURIES). By Marina Mellado Corriente, MA. A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art Historical and Curatorial Studies at Virginia Commonwealth University. Virginia Commonwealth University, 2015 Major Director: Michael Schreffler, Associate Professor, Department of Art History The educational endeavor that the Jesuits – members of the religious order known as the Society of Jesus – carried out in Mexico in the course of the colonial period, when this territory belonged to the Viceroyalty of New Spain (sixteenth to nineteenth centuries), was exceptional. Even though this endeavor has been extensively studied, not much has been written about the edifices, and their significant artistic contents, that not only facilitated the endeavor, but also allowed it to thrive. With the aim of contributing to fill that gap in the scholarly literature, this study engages in an artistic and architectural examination of one among the dozens of school complexes that the Jesuits built and decorated in New Spanish territory: the College of Oaxaca. This establishment was the primary educational institution in one of the most prosperous cities of the viceroyalty, and it ranked third in importance among the colleges that the Jesuits founded in New Spain, representing a clear example of the process of spiritual, intellectual and material expansion that the Society of Jesus carried out in Spanish America. By locating, transcribing and interpreting primary sources (primarily inventories and commissions for works of art) that have not been noticed before or have remained unpublished, and by analyzing the material remains that have survived to this day, it has been possible to reveal that the former Jesuit complex – which today serves, simultaneously, as an apartment building, an indoor parking, a series of storefronts, and a church served by a community of Jesuits – once featured a significantly rich artistic and architectural program, the result of assimilating, but also of rejecting, local and Jesuit traditions. This program, unfortunately, has been progressively disappearing since the expulsion of the Jesuits from Oaxaca in 1767.

La obra del colombiano José Alejandro Restrepo es monumental. No solo por la hondura y complejidad de los problemas estéticos, históricos y artísticos que aborda, sino porque su actividad creadora es incansable, constante y llena de sorpresivos encuentros con lo real y con lo absurdo de lo real. La investigación parte de los inicios en el arte de Restrepo, indagando en las razones por las que ha llegado al escenario de la producción artística y cultural. José Alejandro Restrepo nació en Paris, quizás por la casualidad de la vida que llevo a su padre a vivir en la ciudad de los poetas y los artistas en 1959. Pese a que es parisino de nacimiento su trabajo se ha centrado en Bogotá, la capital de la Republica de Colombia. Inició sus estudios en Medicina, de donde se extrae ese interés perpetuo en el cuerpo como escenario de los encuentros, no solo de los circuitos y los tendones y fluidos, sino de las narrativas, los símbolos y las historias. En Paris asiste a los seminarios de Michel Foucault, historiador y filósofo francés que encabeza la lista de una buena cantidad de intelectuales nacidos en la posguerra con intereses renovados que se enmarcan en una filosofía del desencanto frente al proyecto moderno, son sus grandes ideales y grandes palabras: progreso, libertad, felicidad. Allí también conocerá al filósofo Gilles Deleuze, una de las personalidades más interesantes en esta pléyade de pensadores que inician una auténtica revolución en el pensamiento de su época. Con estos intereses descubiertos al lado de los pensadores franceses, regresa a Colombia, para trabajar con artistas de gran auge en el momento como Maria Teresa Hincapie, allí descubrirá su interés por la música, el teatro, el tiempo-duración y también las paradojas. La investigación busca ahondar en tres ejes del largo y riguroso despliegue artístico de Restrepo. El primero es Transhistorias, una autentica fabulación de lo que es el poder de la narrativa y la descripción y clasificación, en la escritura de la historia y la afectación que tiene esta en Colombia. La mirada sobre América cambia a la luz de quien esté narrando el discurso. Del mismo modo, la ciencia europea se pone en contradicción frente a las ficciones que se mezclan al factico conocimiento de la naturaleza que los grandes sabios proponen. El segundo módulo plantea siguiendo el contrapunteo del módulo anterior, la idea de que la historia es repetición y persistencia y que el progreso no es más que una entelequia. En este caso la fase de interés para Jose Alejandro Restrepo es el Barroco, no estudiado como un periodo de la historia del arte que va de 1600 a 1740, sino como acto operativo y así mismo como un aura fría, es decir, un Barroco que circula y que conecta creando chispas sorprendentes con asuntos como la violencia en Colombia. El Barroco es un estilo de pliegues abiertos y laberintos que se arraiga al modo de vida de los colombianos y puede percibirse en la literatura, la gastronomía, los usos cotidianos pero también en los absurdos de la guerra. La Gran Obra de José Alejandro Restrepo es Iconomia del año 2,000, esta obra engloba las anteriores investigaciones que el artista ha realizado con suma paciencia y rigor de arqueólogo de los relatos. Se divide en: Iconoclastia e Iconofilia. En esta obra se entretejen y se reviven los problemas históricos desarrollados en los inicios del cristianismo, cuando se desató la pugna iconoclasta en Bizancio. Restrepo llega a la conclusión de que el primer sistema económico es así mismo la administración de la imagen de Dios. De ello se sigue que en la Bizancio del siglo VIII, era lo mismo iconomia que economía, se administraba igual el flujo de dinero que el flujo de la imagen. Los iconoclastas, bando político contrario a quienes apoyan la idea de que las imágenes ayuda a los iletrados a comprender las escrituras, no eran muy diferentes de ellos. Ambos en si se muestran como grandes iconólatras y como grandes escritores y descriptores de signos visuales. Los tres ejes de trabajo se hallan conectados por los problemas de: la escritura de la historia, las grietas y rupturas de los discursos y los intersticios por donde se fugan los relatos que el poder construye. El clamor de la razón remite a ese teatro mundo donde la razón ha soñado y en este caso clama por una nueva voz y un pensamiento propio donde puede ser hallada más allá de la historia contada hasta ahora.
The work of Colombian José Alejandro Restrepo is monumental. Not only for the depth and complexity of the aesthetic, historic and artistic issues addressed, but because his creative activity is tireless, constant and full of surprising encounters with reality and the absurdity reality. Research in the early part of the art of Restrepo, investigating the reasons why it has reached the stage of artistic and cultural production. José Alejandro Restrepo was born in Paris, perhaps by chance in life that led his father to live in the city of poets and artists in 1959. Though birth is Paris has focused its work in Bogota, the capital of the Republic of Colombia. He began his studies in medicine, where the perpetual interest is extracted in the body as the scene of the encounters, not just circuits and tendons and fluids, but the narratives, symbols and stories. In Paris attends seminars Michel Foucault, French historian and philosopher who tops the list of a good number of intellectuals born after the war with renewed interest that are part of a philosophy of disenchantment with the modern project, are its high ideals and great words, progress, freedom, happiness. There will also meet the philosopher Gilles Deleuze, one of the most interesting personalities in this galaxy of thinkers that initiate a revolution in the thinking of his time . With these discovered interests alongside the French thinkers, returns to Colombia to work with artists of boom at the time as Maria Teresa Hincapie, there discover their interest in music, theater, time-duration and paradoxes. The research aims to delve into three axes of long and rigorous artistic display of Restrepo. The first is TransHistorias, a real fantasy of what the power of narrative and description and classification, in the writing of history and the effects that has this in Colombia. The look on America changed in the light of who is narrating the speech. Similarly, European science is put at odds against the fictions that mix the factual knowledge of nature that the great sages proposed. The second module poses following the counterpoint of the previous module, the idea that history is repeating and persistence and that progress is but a pipe dream. In this case the phase of interest to Jose Alejandro Restrepo is the Baroque, not studied as a period of art history ranging from 1600 to 1740, but as operative act and himself as a cold aura, ie a Baroque that flows and creating amazing sparks connecting with issues such as violence in Colombia. The Baroque is a style of open folds and mazes that is rooted way of life of the citizens and can be seen in the literature, gastronomy, but also in everyday uses the absurdities of war. The Great Work of José Alejandro Restrepo is Iconomía the year 2000, this Investigation covers the latest research that the artist has done with great patience and rigor of archaeologist stories. It is divided into: Iconoclasm and Iconophilia. In this work are interwoven and developed historical problems are revived in the early days of Christianity, when the iconoclastic conflict in Byzantium broke. Restrepo concludes that the first economic system is likewise managing the image of God. It follows that in the eighth century Byzantium, which was the same Iconomía economy, the flow of money flow in. administered equally. The iconoclasts, opposite political side to support the idea that the images helps to understand the scriptures illiterate, were not very different from them. Both in itself is as great as iconolaters descriptors great writers and visual signs. The three areas of work are connected with the problems of: the writing of history, the cracks and ruptures of the speeches and the interstices where the stories are leaking power constructs. The clamour of reason refers to the theater world where reason has dreamed and in this case cries out for a new voice and a thought which itself can be found beyond the story told so far.

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The research focuses on the analysis of the performance of the Company of Jesus in the area of education and the production of Brazilian religious art throughout the seventeenth century and early eighteenth century, with the preliminary base historical documents of the period, mostly. We resorted, under observation and data collection, the Jesuit churches and relevant to the purpose of the survey monuments. Lent greater emphasis to Our Lady of the Rosary Church in Embu das Artes, São Paulo. In this Baroque religious complex, beyond the church, the museum and the sacristy were relevant to my research. Assuming that art constitutes element of relevance to the study of a particular historical moment and that education is one of the fundamental building blocks of a given society, it is possible to affirm the existence of a dialogue between these two elements, the fact that in the specific case of the Society of Jesus, have much contributed to the catechesis of natives and settlers who frequented the church of the Rosary, at the time, the central location of a Jesuit settlement. To do so, I sought theoretical references on authors whose works are focused on the production of sacred art in this period, especially from the Baroque and the authors argue that, in a singular manner, the role of Ignatian education during the colonial period in Brazil. In parallel, kept frequent contacts with historical sites, visits to churches and monuments. I managed a few interviews with experts and authorities on the subject
A Pesquisa concentra-se na análise da atuação da Companhia de Jesus na área da educação e na produção da arte sacra brasileira ao longo do século XVII e início do século XVIII, tendo como base preliminar documentos históricos do período, principalmente. Recorreu-se, em regime de observação e coleta de dados, às Igrejas jesuíticas e monumentos pertinentes ao objetivo da pesquisa. Deu-se maior destaque à Igreja Nossa Senhora do Rosário em Embu das Artes, São Paulo. Nesse complexo religioso Barroco, além da Igreja, o museu e a sacristia foram relevantes para a pesquisa. Partindo do pressuposto de que a arte constitui elemento de relevância para o estudo de um dado momento histórico e de que a educação é um dos alicerces fundamentais de uma dada sociedade, é possível afirmar a existência de uma interlocução entre estes dois elementos, fato que, no caso específico da Companhia de Jesus, teria em muito colaborado para a catequese de nativos e colonos que frequentavam a Igreja do Rosário, na época, localidade central de um aldeamento jesuítico. Para tanto, buscaram-se referenciais teóricos em autores cujas obras têm como foco a produção da arte sacra do referido período, em especial do Barroco, bem como nos autores que discutem, de maneira singular, o papel dos inacianos na educação durante o período colonial no Brasil. Em paralelo, foram mantidos frequentes contatos com locais históricos, visitas a igrejas e monumentos, bem como algumas entrevistas com especialistas e autoridades no assunto

The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and selected examples of scores are included to illustrate the findings. The discussion concludes with a synthesis of context and process within the framework of a global perspective celebrating diversity.

This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.

A travers l'oeuvre de Michel de Certeau, les manières de dire et de faire d'une part, dans le quotidien d'autre part dans les sciences humaines sont travaillées pour rendre compte d'une philosophie de la ruse. Sont mobilisés à cette occasion le constructivisme (Latour, Stengers), le pragmatisme (James), le structuralisme (Lacan, Barthes) et les philosophies de Deleuze et Foucaut.
Doctorat en Philosophie
info:eu-repo/semantics/nonPublished

Розглянуто притаманні стилю бароко парадокси "консонансних" та "дисонансних" образно‐смислових поєднань. Доведено, що знаково‐символічні протиборства обумовлені наявністю реальних протиріч трьох головних історичних діючих сил епохи ‒ церковної, королівської та військової. Прагнення політичного лідерства кожної з них створювало різні типи культурного середовища, виразником яких стали три стилістичні різновиди художньої культури. Маючи відповідні прояви‐квінтесенції у мистецтві, разом вони складають та втілюють поняття "бароко".
The paradoxes of "consonant" and "dissonant" figurative‐semantic combinations inherent in the Baroque style are considered. It is proved that symbolic confrontations are caused by the presence of real contradictions between the three main historical forces of the era‐ecclesiastical, royal and military. The desire for political leadership of each of them created different types of cultural environment, which were expressed by three stylistic varieties of artistic culture. Having the corresponding manifestations-quintessences in art, together they make up and embody the concept of "baroque".

This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.

The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the character of each friend and also to the use of Nature against queer people in most legal systems across the planet. We are deemed unnatural and made criminals through inequitable semantics. The 8x10 negative becomes a portrait, a darkroom contact print that is gifted to each of The Wild Beasts, an intimate artifact of my gratitude. At these borders I lash at the histories of oppression, remaking these lineages and tools into spaces for empathy, tenderness, and love.

L’objectif de cette thèse est de montrer que la réception de l’art baroque italien par Stendhal et les frères Goncourt a influencé dans une large mesure leurs esthétiques propres. La première partie resitue et restitue l’horizon d’attente propre à Stendhal et aux Goncourt, soit les systèmes et les paradigmes de référence artistiques, les ouvrages sur l’Italie ou sur Rome qu’ils avaient lus et les écrits sur l’art, en particulier sur l’art et les artistes baroques, dont le beyliste s’inspira, et qui favorisèrent la compréhension de l’art baroque. La deuxième partie porte sur quatre motifs de résistance au baroque. Nous y confrontons le discours et l’imaginaire français à l’art baroque afin de situer Stendhal et les Goncourt au sein de ce clivage. Cet ensemble de préjugés a paradoxalement mis en lumière les pouvoirs de séduction qu’avait pu exercer le baroque sur Stendhal et les Goncourt et fait ressortir les caractéristiques baroques susceptibles de se retrouver dans leurs romans. Enfin, nous avons établi des parallèles entre, d’une part, ce qui attira particulièrement Stendhal et les Goncourt dans l’art baroque et ce qu’ils en ont restitué dans leurs ouvrages, et entre l’art visuel et l’art littéraire baroques, d’autre part. Cette dernière partie, en révélant, dans les romans stendhaliens et goncourtiens, une poétique baroque nous a permis d’éclairer l’esthétique romanesque de nos auteurs
The purpose of this study is to show that Stendhal’s and the Goncourt brothers’ appreciation of Italian Baroque art exerted a decisive influence on their own aesthetics. Part one takes a look at Stendhal’s and the Goncourt brothers’ “horizon of expectations”, i. E. Artistic paradigms or references, what literature they read about Italy and Rome as well as writings on art, in particular Baroque art and artists, which inspired Stendhal and helped forge his understanding of Baroque Art. Part two explores four elements of resistance to the Baroque. This study goes on to compare conflicting French views and representations of Baroque art so as to identify Stendhal’s and the Goncourt brothers’ own position along this spectrum. Paradoxically, this set of anti-Baroque prejudices serves to shed light on the particular attraction the Baroque exerted on Stendhal and the Goncourt brothers and which Baroque characteristics are most likely to surface in their novels. The final part of this study draws parallels between the seduction Baroque art exerted on Stendhal and the Goncourt brothers and the way it manifested in their novels as well as between visual and literary Baroque art. Thus, by drawing attention to the presence of Baroque poetics in Stendhal’s and the Goncourt Brothers’ writings, this study sheds new light on their novelistic aesthetics

In the sixteenth century, the nocturne genre developed in Italian art introducing the idea of a scene depicted in the darkness of night. This concept of darkness paired with intense light was adopted by Caravaggio in the late sixteenth century and popularized by himself and his followers. The seemingly sudden shift towards darkness and night is puzzling when viewed as individual occurrences in artists’ works. As an entire genre, the night scene bears cultural implications that indicate the level of influence culture and society have over artists and patrons. The rising popularity of the theater and the tension between Protestantism and Catholicism intersected to create a changing view on the perception of darkness and light. This merging of cultural phenomena affected Caravaggio and his contemporaries, prompting them to develop the nocturne genre to meet the growing demands for darker images.

Le projet de recherche que nous présentons porte sur l'étude et la reconstruction de la personnalité et de l’œuvre de Giulio Benso, peintre, dessinateur et architecte génois entre le maniérisme et baroque, spécialiste dans le décor à trompe l’œil. La dispersion d’un tiers de ses œuvres, en particulier de retables et des quelques décors à fresque, unie au grand nombre de projets graphiques de diverses qualités qui lui ont été attribués dans les dernières décennies ont engendré une mauvaise réputation de son travail, trop souvent considéré de second ordre par rapport à ses contemporains. Dans le cadre de cette thèse, son activité artistique sera donc analysée et contextualisée à l’aide de documents d’archives et des sources anciennes, à partir de sa formation auprès de l’Académie de Giovanni Battista Paggi, dans un environnement culturel génois, en passant par les nombreuses commandes liguriennes et étrangères –allemandes et françaises– lui assignées au cours de la vie. Cela nous permettra de mettre en évidence les contacts, les relations avec certains artistes tels que Giovanni Andrea Ansaldo et Giovanni Battista Carlone, les inspirations d’après les écoles lombardes, vénitiennes, bolonaises et romaines et les expériences qu’il vécut et qui lui ont permis de faire évoluer son travail ainsi que de diffuser son style aux générations suivantes de peintres. Notre analyse sera conduite d’une manière rigoureuse, en mettant en avant les documents existants sur l’artiste, sur Gênes et sur l'École génoise du XVIe et XVIIe siècles. Par ailleurs, notre étude sera enrichie par les recherches documentaires dans les différents établissements d’archives et par le dépouillement des sources anciennes, dans le but d’établir la complète activité artistique du peintre, tableaux et fresques détruits compris, pour en mettre en valeur son évolution et les relations avec ses contemporains. Notre travail présente donc une partie introductive concernant la fortune critique que Benso connut au cours de sa vie et après sa mort. A cela, fait suite l’étude de sa formation à l’Académie de Paggi et des commandes de peintures et de décorations en trompe l’œil reçues à Gênes, dans le Ponente et à Pieve de Teco. Puis, un troisième chapitre est consacré aux missions à l’étranger : en Allemagne, plus précisément à Weingarten, pour lequel nous publions dans le détail la relation épistolaire entre l’artiste et le commanditaire Gabriele Bucellino, grâce aux documents anciens retrouvés et des lettres transcrites par l’héritier de Benso, père Lorenzo Sertorio. En France, à Cagnes-sur-Mer (Provence), où nous étudions le vaste programme iconographique et iconologique du décor, choisi par la famille, avec une forte référence politique. Puis, nous présentons deux catalogues. L’un consacré à la peinture et l’autre à la production graphique. Le premier suit un ordre chronologique par mission, incluant les commandes perdues ou détruites, en cherchant, ainsi, à offrir une lecture de l’investissement artistique du peintre, du cadre social et culturel de la Ligurie, de l’Allemagne et de la France. Les commandes de longues durées telles que celles de l’Annunziata del Guastato à Gênes de 1638 à 1647 et Weingarten, de 1627 à 1667 ont été traitées dans leur unité pour favoriser l’analyse de leur évolution. A cela, fait suite le catalogue des dessins présenté selon l’ordre chronologique d’exécution. L’étude de la production graphique de Benso nécessite une analyse rigoureuse et scientifique basée sur des vérifications stylistiques de même que documentaires, c’est donc ainsi que nous avons procédé. En effet, les analyses conduites dans le passé sur les dessins ont révélé beaucoup de problèmes d’attribution, qu’impliquaient une remise en ordre. Nous nous sommes proposés donc, de tenter d’établir le corpus complet de son œuvre graphique en réexaminant toutes les feuilles à lui attribuées et celles de l’école génoise conservées dans collections publiques et privées du monde
The research project we are presenting focuses on the study and the reconstruction of the personality and artworks of Giulio Benso, a Genoese painter, draftsman and architect between Mannerism and Baroque, a specialist in illusionist decoration. The dispersion of a third of his works, in particular altar paintings and some fresco decorations, combined with the large number of graphic projects of different quality which have been attributed to him in recent decades have generated a bad reputation for his work, too often considered as a second-rate one compared to his contemporaries. In this study, his artistic activity will therefore be analyzed and contextualized using archival documents and ancient sources, from his training at the Academy of Giovanni Battista Paggi, a Genoese cultural environment, to the numerous Ligurian and foreign orders - German and French - assigned to him during his life, in order to highlight the contacts, the relationships with certain artists such as Giovanni Andrea Ansaldo and Giovanni Battista Carlone, the inspirations according to the Lombard, Venetian, Bolognese and Roman schools. The experiences he had and that allowed him to evolve in his work and to communicate his style to the successive generations of painters will also be taken into account. This analysis has been conducted in a precise and rigorous manner, by highlighting the existing documents on the artist, on his life and his works. The in-depth study of all the modern contributions published so far on him, on Genoa and on the Genoese school of the 16th and 17th centuries, has been enriched by documentary research in the various archives establishments of the Liguria region and by the examination of ancient sources, such as guides and manuscripts on the artistic production of the territory, with the aim of establishing the complete artistic activity of the painter, including destroyed paintings and frescoes, in order to highlight its evolution and the relationships with its contemporaries. This work thus presents an introductory part concerning the critical fortune lived by the painter during his life and after his death. This is followed by the second, which is focused on the study of his training at the Paggi Academy and on commissions for paintings and trompe l'oeil decorations received in Liguria. Then, a third chapter is devoted to missions abroad: in Germany, in Weingarten, described through the epistolary relationship between the artist and the sponsor Gabriele Bucellino, thanks to the old documents that were found and the letters transcribed by the heir of Benso, father Lorenzo Sertorio, and in France, in Cagnes-sur-Mer, in Provence, for which the vast iconographic and iconological program of the decor, chosen by the family, with a strong political reference has been studied. This study then presents two catalogs. One devoted to painting and the other to graphic production. The first follows a chronological order by mission, including lost or destroyed orders, thereby seeking to offer a reading of the painter’s artistic investment in the social and cultural framework of Liguria, Germany and France. Long-term orders such as those from the Annunziata del Guastato in Genoa from 1638 to 1647 or those for Weingarten from 1627 to 1667 are processed in their unit to facilitate the analysis of their development. This is followed by the catalog of drawings presented chronologically. The study of Giulio Benso's graphic production requires a rigorous and scientific analysis based on stylistic as well as technical and documentary checks. Studies conducted in the past on the artist's drawings have revealed many attribution problems, which involve reordering. It is therefore proposed to try to establish the complete corpus of his graphic work by re-examining all the sheets attributed to him and those of the Genoese school kept in public and private collections

La dynastie du Quesnoy est constituée de Jérôme le Vieux (Béthune, ca 1570-Bruxelles, 1650), arrivé à Bruxelles en 1594, et de ses deux fils :François (Bruxelles, 1597-Livourne, 1643) et Jérôme le Jeune (Bruxelles, 1602-Gand, 1654). Néanmoins, seules la vie et l’œuvre de François du Quesnoy, qui avait connu à Rome une brillante carrière, avaient été l’objet d’études approfondies. La condamnation au bûcher de Jérôme le Jeune en 1654 pour sodomie avait entraîné dans son sillage la considération que la critique aurait pu porter à son œuvre. Ce dernier avait pourtant lui aussi connu une importante ascension sociale et artistique, en devenant le sculpteur, statuaire et architecte de la cour de Léopold Guillaume (1647-1656), alors gouverneur des anciens Pays-Bas. Cette thèse étudie sous un angle neuf la biographie et la production de Jérôme le Vieux et de Jérôme le Jeune. Les questionnements sous-jacents à la recherche portent autant sur le dynamisme et le contexte de la sculpture bruxelloise durant la première moitié du XVIIe siècle, que sur l’existence d’une transmission intergénérationnelle au sein de l’atelier. L’analyse des sculptures du catalogue tend, une fois dégagée des présupposés largement diffusés à travers l’histoire de la sculpture flamande, à présenter de manière inédite les apports et l’originalité de cet atelier. Ces apports avaient en effet été occultés d’une part, par l’importante contribution de François du Quesnoy et, d’autre part, par celle, non moins importante, de Rubens, envisagé par beaucoup comme l’unique fondateur de l’art baroque flamand. Ce travail fournit également le premier catalogue raisonné des deux artistes.La reconstitution du fonctionnement de l’atelier (composition, pratiques, collaborations extérieures, spécialisations, tâches principales et secondaires, matériaux mis en œuvre et technique) a permis de présenter de nombreuses découvertes et de montrer un changement dans la pratique de la sculpture entre le père et le fils ;cette reconstitution s’insère dans un cadre prédéfini par la corporation des Quatre Couronnés, dont l’organisation a aussi été étudiée dans ses rapports avec l’atelier. À partir d’une analyse pointue du catalogue des deux sculpteurs, plusieurs caractéristiques typiques de la manière des du Quesnoy et de nombreux apports, notamment à l’iconographie, ont été révélés. La particularité du schéma iconographique de plusieurs groupes figurant Sainte Anne et la Vierge, outre la nouveauté dans la présentation du thème, a permis d’établir pour la première fois une filiation entre l’œuvre de Jérôme le Vieux et de Jérôme le Jeune. Du Quesnoy le Vieux apparaît désormais comme un artiste ouvert à divers courants artistiques, mêlant l’art du XVIe siècle flamand et français, ainsi que l’antique. L’œuvre de Jérôme le Jeune, qui constitue une sorte de livre ouvert sur le parcours du sculpteur, entre Flandre, Italie et Espagne, a instillé dans la sculpture flamande une veine baroque originale. Ses productions ont souvent fixé dans le marbre certains évènements de l’histoire de ses commanditaires, au rang desquels l’évêque de Gand Antoine Triest (1576-1657) ou le gouverneur des anciens Pays-Bas du Sud, Léopold Guillaume.
Doctorat en Histoire, histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished

Ce travail de thèse est le fruit d'un cheminement de recherches tant théorique que pratique en tant que plasticienne et qui reflète une quête d'identité. Travaillant à partir de substances résiduelles qui représentent ma matière première comme les cheveux, les ongles, la peau, je me sers des techniques anciennes comme la broderie et la dentelle. Dans ma production artistique, je cherche à donner une deuxième existence à ces résidus, une nouvelle forme de perpétuation de notre matière. Mon intention est de camoufler sa provenance et de créer des oeuvres qui sont pourvues d'un nouveau sens, d'une nouvelle beauté. Mais la découverte de l'origine de ma matière première dévoile le côté caché de ma recherche artistique, celle de la mort, de la falsification et de la tromperie. Je m'interroge aussi sur l'hybridité dans mon oeuvre à travers la réflexion sur le baroque latino-américain. Je m'intéresse à la beauté impure, à la merveille et à la notion d'imperfection que l'on trouve dans les cabinets de curiosités. Dans cette thèse, différents concepts se mêlent comme un tissage, démontrant mon dessein d'explorer des questionnements qui sont à la fois paradoxaux et complémentaires, de voir les deux « côtés du miroir» comme celui de l'attirance et de la répulsion, le sublime et l'obscène, le sacré et le profane, qui reflètent le constat d'une dualité présent dans toute ma recherche plastique

Après avoir défini aussi précisément que possible les notions de baroque, de néobaroque et de postmoderne, la présente thèse s'appuie sur une déclaration de Gilles Deleuze, dans Le pli, Leibnitz et le Baroque (1988), selon laquelle le baroque se traduit par une montée de l'harmonie et le néo-baroque par l'irruption d'accords dissonants. Aussi le néo-baroque ne serait-il pas, contrairement à ce que son appellationlexicale présuppose, simple résurgence d'un mouvement passé mais élément maniériste perturbateur appliqué à distendre toute perspective préalablement établie. Par conséquent, il s'agit avant tout de montrer sous quelles formes l'harmonie, représentative du trompe l'oeil baroque, et les dissonances anamorphotiques, caractéristiques maniéristes du néo-baroque postmoderne, se manifestent dans la fiction de Jeanette Winterson et de révéler ce qui se dégage de la déconstruction entreprise. Dans cette optique , formation, déformation et éventuelle (re)formation de motifs prédominants tels que le visible, le grotesque et l'imaginaire sont, tant au niveau thématique que textuel, analysés et les contours d'une nouvelle ère fictive "en devenir", éventuel successeur de l'actuel postmodernisme, esquissés. Six des huits romans publiés par Jeanette Winterson constituent le corpus d'étude : The Passion (1987, John Llewellyn Rhys Memorial Prize), Sexing the Cherry (1989, E. M. Forster Award), Written on the body (1993), Art and Lies (1994), Gut Symmetries (1997) et The Powerbook (2000). Oranges are not the only fruit (1985), de par son caractère autobiographique, et Boating for beginners (1985), de par sa nature de bande dessinée, ont été exclus du corpus
Baroque, neo-baroque and postmodernism are subject to many vague and sometimes contradictory definitions which need to be revisited and completed. Yet, one of them offers an interesting starting point to the present study : the baroque corresponds to the rise of harmony and the neo-baroque to its sudden disruption (Gilles Deleuze in L epli, Leibniz et le Baroque [1988]). Thus, the baroque is characterised through the illusory revelation and shiny exhibition of a harmonius surface. In other words, it is nothing but a trompe-l'oeil façade. The neo-baroque, on the other hand, acts as a breaking element anxious to themselves in Jeanette Winterson's postmodern novels ? What kind of thematic and textual excesses as well as "anamorphotic" distorsions are to be fpound? How are predominant motifs like the visible, the grotesque and the imaginary formed, deformed and reformed ? Is the deconstruction followed by any kind of reconstruction in progress ? And, if it is so, can it be seen as a new literary era ? All these questions will be dealt with and meticulously analysed in the light of six of eight novels published by the author : The Passion (1987, John Llewellyn Rhys Memorial Prize), Sexing the Cherry (1989, E. M. Forster Award), Written on the body (1993), Art and Lies (1994), Gut Symmetries (1997) et The Powerbook (2000). Oranges are not the only fruit (1985) - more an autobiography than a novel - and Boating for beginners (1985) - more a comic strip than a novel - have not been selected

The thesis concerns the artworks by Johan Sylvius in the staircase, upper vestibule, upper north guard room and upper gallery of the Drottningholm Palace, as painted performances. They are studied as performative cultural encounters with a historically situated beholder but will also be regarded in relation to their spatial and artistic surrounding. From the theoretical framework of performativity and reception aesthetics, the results indicate that the images have the potential to inscribe the beholder within certain postulates on power relations and politics of identity, through working with splendour, naturalism, narrative and the function of the rooms they are located in. The results further point to the images’ manners of effecting the beholder on several levels through an employed pluralism and lastly, that they both build upon and re-produce the relation between monarch/nobility, where the former is the sole figure who both grants status and can remove it in an instance.

Pretendemos entender a filosofia de Espinosa, em especial, a sua Ética ordine geometrico demonstrata, a partir de uma operação conflituosa bem específica entre, por um lado, a perspectiva do transcendente (ou a teologia racional) e, por outro, um desejo de salvação mundana; entre o projeto da filosofia imanentista de Espinosa e um mundo submetido ao poder teológico-político; e entre o texto teológico e o método da escrita da filosofia de Espinosa. Tais operações estruturam o cerne de nosso trabalho, no qual visamos entender o nexo causal na passagem de um Deus sive natura absolutamente infinito para nós, os modos finitos desta mesma natureza, de maneira a chegarmos a um entendimento que possa nos garantir não apenas ser, mas tomar parte ativamente neste absolutamente infinito. Não só procuraremos caminhar neste solo conflituoso, mas ainda proporemos tratá-lo com um procedimento que em si enfatiza conflitos, pois visamos responder às nossas questões acerca da filosofia da imanência, de Deus, da passagem do infinito ao finito a partir de uma aproximação entre a obra de Espinosa e o complexo universo artístico da literatura, das artes plásticas e da música do século XVII barroco. Além disto, procuramos demonstrar a hipótese de que a singularidade da Ética enquanto texto, expressa por uma forma textual filosófica sem precedentes, produz uma questão conceitual extremamente complexa que se funde à própria idéia do absolutamente infinito. Pois se a síntese da geometria dos indivisíveis, do século XVII, fornece-nos uma nova idéia de infinito (como amplamente discutiremos) e se a ordem geométrica da demonstração da Ética é fruto desta mesma síntese, então o livro deve necessariamente trazer, já, em sua fartura textual esta idéia de infinito. (Continua)
We intended to understand Espinosa\'s philosophy, especially, his Ethics ordine geometrico demonstrata, starting from a very specific conflicting operation against, on one side, the perspective of the transcendent (or the rational theology) and, on other, a desire for a mundane salvation; between the project of Espinosa\'s immanentist philosophy and a world submitted to the theological-political power; and between the theological text and the method of writing of Espinosa\'s philosophy. Such operations structure the core of our work, in which we seek to understand the causal connection in the passage from a God sive natura, absolutely infinite, to us, the finite manners of his same nature, in way that we can arrive to an understanding that can guarantee to us not to be a part, but to take part actively in this absolutely infinite. Not only we will try to walk in this conflicting path, but we intend to treat it with a procedure that emphasizes conflicts in itself, for we aim to answer our subjects - concerning the philosophy of the immanence, God, and the passage from the infinite to the finite - dealing with an approach between Espinosa\'s work and the complex artistic universe of literature, visual arts and music from the Baroque XVII century. Farther, we intend to demonstrate the hypothesis that the singularity of the Ethics while a text, expressed by an unprecedented philosophical textual form, produces an extremely complex conceptual subject that merges to the same idea of the absolutely infinite present in the Ethics. For if the synthesis from the geometry of the indivisibles, of the XVII century, provide us a new idea of the infinite (as we will extensively discuss) and if the geometric order on the demonstration of the Ethics is a fruit of this same synthesis, then the book should necessarily bring, already, in its textual profusion 7 this idea of the infinite. In other words, the idea of the geometric-synthetic order, key to the formulation of the absolutely infinite, already takes place in the textual structure ordine geometric demonstrata of the Ethics. Thus, we look forward to demonstrate that the order of exposition of the text in the Ethics operates with the same idea expressed by its ontology (the idea that is also expressed in mathematics by the geometrical synthesis). Farther on, we will insist that the formal articulation of the Ethics renders to us patent the fruition of the infinite, because we believe that such work while a text and as text, already expresses to its reader the experience of this new synthesis of an indivisible absolutely infinite.

La these concerne trois ensembles, trois "composti" de gian lorenzo bernini qui se trouvent a rome: les chapelles fonseca (1664-1675) et albertoni (1665-1674) et l'autel de l'eglise de sant'andrea al quirinale (1658-1670). Je montre comment le "montage" d'un tableau avec une sculpture et avec un lieu architecto nique sert de support a une forme specifique de contemplation. J'envisage la question du "montage" des arts de deux points de vue: celui de sa composition par l'artiste et celui de sa reception par le spectateur croyant. L'assemblage parti culier de chaque "composto" induit en effet une operation de recomposition "imaginaire" dans la contemplation du fidele. Pour le bernin l'integration de la peinture de l'architecture et de la sculpture dans un ensemble coherent n'est pas uniquement un probleme d'ordre plastique; l'occasion lui est offerte de jouer avec les articulations et les "sauts" entre systemes de representation et registres expressifs divers pour mettre en scene un processus de transformation spirituelle. Le travail de recomposition des composantes du "composto" est prepare par des formes differentes d'exercices spirituels. L'etude des pratiques carmelites et jesuites me permet de decrire le "montage" devotionnel de l'observateur du "composto"
The thesis concerns three wholes, three "composti" of gian lorenzo bernini in rome; the fonseca (1664-1675) and albertoni (1665-1674) chapels, and the s. Andrea al quirinale main altar. I show how the "editing" of a painting with a sculpture and with an architectural structure support a specific form of contemplation. The question of "editing" three arts is seen from two points of view : the composition by the artist and the reception by the devote observer. The specific assemblage of every "composto" provoke an immaginary recomposition in the believer's contemplation. The problem of the integration of painting, architecture and sculpture in a coherent whole is not only a plastic one; the occasion is offered to bernini to play with the articulati ons and the "jumps" between differents systems of representation in order to show a process of spiritual transformation. The work of recomposition of the components of the "composto" is prepared by different kind of spritual exercices. The study of jesuits and carmelites practices allow me to describe the devotional "editing" of the devote in the "composto"