Relevant bibliographies by topics / Chardin, Jean Baptiste Simeon

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Chardin, Jean Baptiste Simeon'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Chardin, Jean Baptiste Simeon"

1

KANE, FRANCIS. "The Absent Patient: A Meditation on a Chardin Painting." Cambridge Quarterly of Healthcare Ethics 9, no. 1 (2000): 7–16. http://dx.doi.org/10.1017/s0963180100901026.

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“Monsieur Chardin is obliged to keep his subject before his eyes.” That remark, by a long forgotten critic, was meant as a rebuke for the painter who did not work from sketches. Jean Simeon Chardin's counter, “We have to teach our eyes to look.”
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Morlin, Isabelle. "Récits de voyages marchands dans la seconde moitié du XVIIe siècle : portrait du négociant en héros." Études littéraires 40, no. 2 (2009): 13–29. http://dx.doi.org/10.7202/037960ar.

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Résumé Dans la seconde moitié du XVIIe siècle, pendant le règne de Louis XIV, encouragés par le pouvoir, les voyages connaissent un essor spectaculaire, et avec eux les récits qui en sont faits. Parmi eux, le récit de voyage commercial occupe une place importante. Des voyageurs comme Tavernier (Les six voyages de Jean-Baptiste Tavernier…, 1676) et Chardin (Voyages de Monsieur le Chevalier Chardin en Perse et autres lieux de l’Orient, 1686), tous deux experts en joaillerie, incarnent la figure du négociant cultivé et audacieux, représentatif de cette période. Travaillant pour leur propre compte
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3

Marson, P., R. Rondinone, and M. Vicarioto. "Malar rash in a painting by Jean-Baptiste Siméon Chardin (1699-1779)." Reumatismo 53, no. 2 (2011). http://dx.doi.org/10.4081/reumatismo.2001.175.

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Dissertations / Theses on the topic "Chardin, Jean Baptiste Simeon"

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Rela, Maryana Lemos Nogueira [UNESP]. "O olhar como experiência: a pintura." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127951.

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Made available in DSpace on 2015-09-17T15:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-25. Added 1 bitstream(s) on 2015-09-17T15:45:15Z : No. of bitstreams: 1 000847641.pdf: 11062823 bytes, checksum: 2c14766790544180356dca576203b59f (MD5)<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>Resumo Esta pesquisa constitui-se de duas partes complementares: a primeira apresenta um relato do processo de criação das pinturas que desenvolvi entre os anos de 2013 e 2015, as quais são exibidas aqui. Desse relato se originam as ideias-chaves que compõem a trama teóri
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Jollet, Étienne. "Figures de la pesanteur : équilibre et pondération dans la peinture de genre du XVIIIe siècle en France (Watteau, Chardin, Fragonard)." Paris, EHESS, 1992. http://www.theses.fr/1991EHES0314.

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La conception du tableau comme totalite structuree a eu pour consequence un desinteret pour la question des efets de la pesanteur en peinture. Ceux-ci, qui ne se manifestent que par accident, jouent pourtant un role decisif dans la peinture de genre de watteau, chardin et fragonard. Ils permettent d'isoler certaines figures et de la mettre en rapport direct avec l'experience commune a tout spectateur, de par la reference a un phenomene physique qui releve a la fois de l'intuition et d'un savoir constitue, la physique. C'est de fait par l'analyse de la notion correspondante, la ponderation, dan
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Vieillard, Bertrand. "Le tact du peintre, le toucher du philosophe : Chardin et la pensée française du XVIIIe siècle." Paris 4, 2007. http://www.theses.fr/2007PA040297.

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En un siècle où le toucher devient une des préoccupations majeures de la philosophie, la peinture de Chardin met le spectateur en présence d’un analogon visuel du rapport tactile de l’homme au monde. Mais tandis que les philosophes privilégient une approche du toucher qui le définit essentiellement comme désir d’emprise sur les choses à partir du contact qu’il établit avec elles, Chardin fait place, dans le contenu de ce qu’il peint, comme dans sa touche, à d’autres modalités du toucher dont la visée porte sur l’en deçà et l’au-delà du contact. Cette visée singulière est le propre du tact, qui
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Filipe, Mariana Garcia 1988. "Contemplando a figura na pintura : a posição do observador." Master's thesis, 2013. http://hdl.handle.net/10451/20288.

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I believe that Art happens in the exact physical space between a viewer and an image hanging on a wall. The viewer or beholder is something inherent to paintings but, for some artists and even for some periods of art history, the viewer gains a crucial place becoming the main point or initial reason for the conception of the work of art. Through the work of artists like Jean-Baptiste-Siméon Chardin, Caspar David Friedrich, Édouard Manet, Thomas Struth, and Michaël Borremans, we can study a very specific relationship between the figures represented in the paintings and the possible beholder tha
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Books on the topic "Chardin, Jean Baptiste Simeon"

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Galeries nationales du Grand Palais (Paris), Royal Academy of Arts, Kunstmuseum im Ehrenhof (Düseldorf), and Metropolitan Museum of Art, eds. Chardin. Royal Academy of Arts, 2000.

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2

Naughton, Gabriel. Chardin. Phaidon Press, 1996.

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Rosenberg, Pierre. Chardin. Flammarion, 1999.

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Chardin. Skira, 1991.

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Chardin. Abrams, 1996.

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Michel, Marianne Roland. Chardin. Hazan, 1994.

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Michel, Marianne Roland. Chardin. Thames and Hudson, 1996.

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8

Chardin, Jean Baptiste Siméon. Chardin: Paris, Galeries Nationales du Grand Palais, 7 September-22 November 1999 : Düsseldorf, Kunstmuseum im Ehrenhof, 5 December 1999-20 February 2000 : London, Royal Academy of Arts, 11 March-29 May 2000 : New York, the Metropolitan Museum of Art, 27 June-3 September 2000. Royal Academy of Arts, 2000.

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Rosenberg, Pierre. Chardin: Suivi du catalogue des oeuvres. Flammarion, 1999.

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10

Prigent, Hélène. Chardin: An intimate art. Harry N. Abrams, 2000.

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Book chapters on the topic "Chardin, Jean Baptiste Simeon"

1

Mokhberi, Susan. "Missionaries, Travelers, and the Case of Jean Chardin." In The Persian Mirror. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884796.003.0002.

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Missionaries and travelers presented the earliest representations of Persia. Missionaries imagined the Safavid Shiite state as open to conversion to Christianity and an ally against the Sunni Ottomans. Through Catholic writings, Frenchmen absorbed literature that portrayed Persia as tolerant and friendly to Europeans. French contacts with Persia increased under the patronage of Louis XIV’s finance minister, Jean-Baptiste Colbert. Some of these travelers drew connections between the two monarchies. One of the most famous French travelers to Persia, Jean Chardin, depicted the Persian royal court as a model of comparison for the French. He not only described Persia to Frenchmen but also used it as a means to instruct and reflect upon French political and social institutions.
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