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1
Ferreira, Maria da Piedade Aldinhas de Freitas. "Cubismo Checo." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2014. http://hdl.handle.net/10400.5/12307.
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Zaganelli, Gemma. "Duchamp-Villon e il cubismo." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080002.
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L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes typique du cubisme le plus reconnu ; le rôle de la pensée dans le processus créatif ; l’intérêt pour le primitivisme conçu en tant qu’emblème d’essentialité et de synthèse de la forme ; le concept d’espace-temps et le désir de contribuer à la combinaison de sculpture et architecture. Il s’agit de points essentiels pour comprendre son adhésion personnelle au cubisme : s’il est difficile de considérer son œuvre en tant que production cubiste orthodoxe, les caractéristiques susmentionnées inscrivent le nom de Duchamp-Villon dans la grande révolution esthétique du début du XXe siècle, qui est tout d’abord une révolution de pensée. Sur la base d’une telle prémisse, cette recherche vise à analyser l’œuvre de Duchamp-Villon à la lumière des nouveautés culturelles et esthétiques du début du XXème siècle, tant par rapport à la sculpture que par rapport à la peinture, dans le but de comprendre si son esthétique représente une traduction des expérimentations picturales du cubisme ou si, au contraire, elle constitue une version personnelle du cubisme en trois dimensionsIn the historiography of the second half of the last century the work of Duchamp-Villon is rarely mentioned, just as the history of sculpture is often used as a term of comparison with respect to the better-known area of painting. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. Regarding the latter, some principles of its aesthetic research seem to be fundamental: the simplification of forms, the attention to geometry, the refusal of the typical cubism with facets of the Cubism more recognized; the role of thought in the creative process; the interest for the Primitivism conceived as an emblem of essentiality and synthesis of the form; the concept of space-time and the desire to contribute to the combination of sculpture and architecture. These are to be considered as essential points to understand its personal adhesion with the Cubism: if it is difficult to consider its work as an orthodox cubist production, the above-mentioned characteristics register the name of Duchamp-Villon in the great aesthetic revolution of the beginning of the 20th century, which is first of all a revolution of thought. Based on this premise, this study aims to analyze the work of Duchamp-Villon in light of the cultural and artistic novelties of the early twentieth century in relation to sculpture and painting, so as to understand whether his aesthetics represent a translation of pictorial experimentations of Cubism or whether, on the contrary, it constitutes a personal version of Cubism in three dimensions
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Zaganelli, Gemma. "Duchamp-Villon e il cubismo." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080002.
Full textAbstract:
L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes typique du cubisme le plus reconnu ; le rôle de la pensée dans le processus créatif ; l’intérêt pour le primitivisme conçu en tant qu’emblème d’essentialité et de synthèse de la forme ; le concept d’espace-temps et le désir de contribuer à la combinaison de sculpture et architecture. Il s’agit de points essentiels pour comprendre son adhésion personnelle au cubisme : s’il est difficile de considérer son œuvre en tant que production cubiste orthodoxe, les caractéristiques susmentionnées inscrivent le nom de Duchamp-Villon dans la grande révolution esthétique du début du XXe siècle, qui est tout d’abord une révolution de pensée. Sur la base d’une telle prémisse, cette recherche vise à analyser l’œuvre de Duchamp-Villon à la lumière des nouveautés culturelles et esthétiques du début du XXème siècle, tant par rapport à la sculpture que par rapport à la peinture, dans le but de comprendre si son esthétique représente une traduction des expérimentations picturales du cubisme ou si, au contraire, elle constitue une version personnelle du cubisme en trois dimensionsIn the historiography of the second half of the last century the work of Duchamp-Villon is rarely mentioned, just as the history of sculpture is often used as a term of comparison with respect to the better-known area of painting. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. Regarding the latter, some principles of its aesthetic research seem to be fundamental: the simplification of forms, the attention to geometry, the refusal of the typical cubism with facets of the Cubism more recognized; the role of thought in the creative process; the interest for the Primitivism conceived as an emblem of essentiality and synthesis of the form; the concept of space-time and the desire to contribute to the combination of sculpture and architecture. These are to be considered as essential points to understand its personal adhesion with the Cubism: if it is difficult to consider its work as an orthodox cubist production, the above-mentioned characteristics register the name of Duchamp-Villon in the great aesthetic revolution of the beginning of the 20th century, which is first of all a revolution of thought. Based on this premise, this study aims to analyze the work of Duchamp-Villon in light of the cultural and artistic novelties of the early twentieth century in relation to sculpture and painting, so as to understand whether his aesthetics represent a translation of pictorial experimentations of Cubism or whether, on the contrary, it constitutes a personal version of Cubism in three dimensions
4
Abreu, Andreia Manuela Passos de. "Gertrude Stein e o cubismo literário." Master's thesis, Universidade Aberta, 2008. http://hdl.handle.net/10400.2/1225.
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Genovart, Adolf 1953. "Derivaciones del espacio postcubista en la pintura última, 1950-1990." Doctoral thesis, Universitat de Barcelona, 1991. http://hdl.handle.net/10803/585959.
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Las derivaciones que a partir del primer cubismo (Picasso, Braque) se introducen en el espacio pictórico, en su relación al objeto y a la representación, son de vital importancia en la realización en obra por parte de los pintores americanos de los años 40 y 50 (Pollock, De Kooning, Newman y otros) y su consiguiente libertad formal. Las prolongaciones del sistema espacial que introducen estos artistas para la pintura de este siglo (sistema post-cubista) llegan hasta nuestros dias en sucesivas ramificaciones siempre sujetas a la interpretación individual de cada pintor. La actual valoración del concepto de imagen lleva implicita la reflexión sobre el espacio pictórico, aunque esta ultima queda muchas veces olvidada en favor de explicaciones de orden social.
Esta tesis incide en este olvido, investigando desde una metodología de análisis formal los sistemas de articulación entre el espacio post-cubista en su deriva conceptual y el concepto de representación.
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Lian, Antonio Henrique. "Do cubismo musical: uma investigação em estética comparada." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-23112009-102427/.
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Propõe-se, através de uma investigação em estética comparada, identificar elementos e obras musicais que correspondam ao conceito e à poética cubista de expressão artística. Para tanto, busca-se, inicialmente, o estabelecimento de um vocabulário mais amplo e, sobretudo, mais preciso para traçar equivalências entre a pintura, uma arte do espaço (Raumkunst), e a música, uma arte do tempo (Zeitkunst), desfazendo equívocos e possibilitando um ponto de encontro entre ambas as linguagens artísticas no plano da linguagem verbal. Em seguida, estudam-se, sob o ponto de vista musical, os principais elementos da poética cubista (figuratividade representacional, pluriperspectividade, abordagem metonímica, simultaneidade, formalismo e peculiar relação frente-fundo) para, finalmente, analisarem-se movimentos e obras musicais que forneçam subsídios e demonstrações à tese.The present essay is an investigation in compared aesthetics aiming at identifying elements and musical works corresponding to the concept and poetics of cubistic artistic expression. In order to achieve the mentioned purpose it attempts at setting a broader and more precise vocabulary able to allow equivalences between painting, an art developed through the space (Raumkunst) and music, an art developed through the time (Zeitkunst), avoiding misuses and making possible a summit at the realm of verbal language. Next to this, the main cubistic elements are studied through the musical point of view (representational figurativeness, pluriperspectiveness, metonymical approach, simultaneity, formalism and a peculiar front-back relationship). Last but not least, musical movements and works are analyzed, offering subsidies and demonstration to the thesis.
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Souza, Mazonilde Dalvina Costa de. "A aprendizagem da geometria por meio do estudo do cubismo no 5º ano da Educação de Jovens e Adultos - EJA." reponame:Repositório Institucional da UNIVATES, 2014. http://hdl.handle.net/10737/727.
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Atualmente, a matemática ainda é utilizada como instrumento disciplinador e de exclusão em muitas escolas e por muitos professores que insistem em ensiná-la como algo mecânico, formal e desconexo da realidade e das demais disciplinas. Porém, a matemática é uma ciência que está envolvida em quase todas as atividades humanas, portanto, deve ser ensinada de maneira significativa. Deste modo, o presente trabalho tem como objetivo principal identificar de que forma o estudo do movimento cubista pode contribuir na aprendizagem significativa da Geometria no 5º ano da Educação de Jovens e Adultos – EJA em uma escola municipal pública, em Boa Vista/RR. Tal pesquisa se fundamentou na teoria de aprendizagem de David Ausubel, no ensino da geometria por meio do estabelecimento de relações entre a arte e a matemática e nos documentos que regem a Educação de Jovens e Adultos. Foram consultadas obras como Ausubel (2003), Moreira (2011), Fainguelernt e Nunes (2006) dentre outras. Através de pesquisa qualitativa, utilizando abordagem descritiva e coletas de dados por meio de diário de bordo e questionários aplicados aos participantes, foi possível desenvolver atividades potencialmente significativas e favorecer a aprendizagem do conteúdo espaço e forma, por meio do desenvolvimento de atividades que envolveram a arte do movimento cubista e a geometria. A partir dos resultados, ficou constatado que o material utilizado nesta pesquisa teve significado lógico ou potencial, o qual resultou em um aprimoramento dos conceitos subsunçores existentes na estrutura cognitiva dos alunos. Acarretou também a assimilação sequencial de novos conceitos a partir da mediação do professor que auxiliou com atividades práticas na ação progressiva de aquisição de conhecimentos, bem como proporcionou aos estudantes uma reflexão sobre o próprio processo de aprendizagem.
Nowadays, mathematics is still used as a disciplinary and exclusion tool in many schools and by several teachers who insist on teaching it as something mechanical, formal and disconnected from reality and other subjects. However, mathematics is a science which is involved in almost all human activities, and must, thus, be taught in a meaningful way. Therefore, this research aims to classify how the study of the Cubist movement can contribute for a meaningful learning of Geometry in the 5th year of Youth and Adults – EJA, in a public school of city of Boa Vista/RR. This study was based on David Ausubel theory of learning, on geometry teaching through the establishment of relationships between art and mathematics and on the documents regarding the Education of Youth and Adults. Works as Ausubel (2003), Moreira (2011), Fainguelernt and Nunes (2006), among others, have been consulted. By means of qualitative research, using descriptive approach and data collection via logbook, as well as questionnaires applied to participants, it was possible to develop potentially meaningful activities and promote the learning of content space and form through the development of activities involving the Cubism art movement and geometry. From the results, it was found that the material used in this research had logical or potential significance, which resulted in an enhancement of existing subsumers concepts in the cognitive structure of the students. Moreover, it caused the sequential assimilation of new concepts from the mediation of the teacher who helped with practical activities in the progressive action of acquiring knowledge, and provided the students with a reflection on the learning process itself.
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Nervegna, Mattia. "Pablo Picasso y el cubismo di Rafael Jackson: Proposta di traduzione di un album illustrato per bambini." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21351/.
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Il presente elaborato finale presenta l'analisi e la proposta di traduzione dell'albo illustrato per bambini intitolato Pablo Picasso y el cubismo di Rafael Jackson. L’elaborato sarà strutturato in tre parti. La prima parte è composta dall’analisi del testo di partenza ed è divisa in ulteriori paragrafi, partendo da una scheda tecnica del libro in cui verranno fornite le informazioni imprescindibili sull’autore, l'illustratrice e la casa editrice Anaya Infantil y Juvenil. Successivamente, si prenderanno in considerazione gli elementi paratestuali dell’albo, approfondendo l’analisi di alcune delle illustrazioni create da Maria Espluga. Inoltre, si tratteranno il genere di appartenenza del testo, la storia, la trama, i personaggi, partendo dai più importanti e finendo con le cosiddette comparse, il tempo della storia e gli anni in cui si svolge, quindi e il luogo in cui si narrano le vicende, per poi finire con lo stile dell'autore. La seconda parte è completamente dedicata alla proposta di traduzione divisa seguendo l’ordine del libro in capitoli identici a quelli del testo di partenza. Infine, la terza ed ultima parte sarà dedicata al commento alla traduzione, in cui verranno indicati i principali problemi riscontati e le strategie adottate per risolverli.
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Amaro, Maria João Relvas. "A tipografia como forma de expressão autónoma." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2010. http://hdl.handle.net/10362/5757.
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Trabalho de Projecto apresentado para cumprimento dos requisitos necessários à
obtenção do grau de Mestre em Novos Media e Práticas WebType is to be seen é uma plataforma ligada à rede que pretende fazer com que as pessoas, de uma forma geral, e os seus utilizadores, em particular, reflictam sobre as letras enquanto forma de expressão gráfica e não apenas como peças que em conjunto formam palavras. As letras são o menor elemento da tipografia, um conjunto de letras irá formar uma fonte, e os vários comportamentos de uma fonte constituirão um tipo de letra. Enquanto tema central do projecto, interessa-me estudar a tipografia, não tanto pelo lado do desenho de letras e seus pormenores técnicos, mas antes como forma (ou imagem), numa tentativa de diminuir o receio que existe no meio do design em relação a convencionalismos e tradições, nomeadamente no que diz respeito à funcionalidade e invisibilidade do design e legibilidade da tipografia, que por vezes não permitem que os trabalhos atinjam o seu máximo potencial expressivo. O projecto ganhou amplamente o título de “A tipografia como forma de expressão autónoma” devido à importância da componente teórica, onde se faz a contextualização da parte prática. Este site nunca poderia fazer sentido sem falarmos antes do modernismo e do advento dos meios digitais. Sendo assim, o primeiro capítulo corresponde ao estudo do pico do modernismo e aos "ismos" da sua arte. Eles constituíram uma das épocas mais marcantes e revolucionárias na arte e serviram para alterar a forma como as pessoas olhavam para os tipos de letra. Antes disto, a tipografia estava apenas ligada à imprensa mas, a partir das décadas de 1910/ 1920, as letras começaram a mover-se livremente nas páginas pela primeira vez. Foi adoptada uma atitude nova que iria marcar de forma profunda as décadas seguintes. O segundo capítulo concentra-se no advento do computador e da internet e no nascimento daquilo que pode ser chamado de era digital, tendo início na década de 1980. Com o aparecimento dos meios digitais e a invenção do Postscript, que veio tornar possível trabalhar a tipografia dentro dos computadores, a possibilidade de criar tipos de letras chegou progressivamente às mãos de todos os utilizadores. Por esta altura, o design gráfico tomava novos contornos e ganhava um destino mais amplo e um papel cada vez mais importante na sociedade. Vários foram os designers que contribuíram para uma espécie de anarquia organizada dentro da tipografia, que elevou o seu potencial expressivo ao mais alto nível. No terceiro capítulo é explicada a componente prática: o site propriamente dito. Aqui são descritas as várias actividades que o utilizador poderá realizar no site, apenas com recurso a letras, cor e formas geométricas básicas, numa experiência interactiva.
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Bernardo, Juliana Ferreira [UNESP]. "Colagem nos meios imagéticos contemporâneos." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86944.
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Universidade Estadual Paulista (UNESP)
A presente pesquisa tem por objetivo a análise da colagem como procedimento artístico. Para isto, foi traçado um histórico da colagem que englobou o Cubismo, o Dadaísmo, o Surrealismo e a Arte Pop. Em cada um destes momentos históricos, percebemos o significado do emprego da colagem como linguagem artística. Em um segundo momento, analisamos o processo da colagem nas imagens técnicas, sobretudo naquelas decorrentes da fotografia, como, por exemplo, nas fotomontagens, no cinema e na colagem digital. E, finalmente, realizamos entrevistas com artistas brasileiros e visitamos museus e galerias com o intuito de verificar como a colagem tem feito parte da arte contemporânea
This study aims at analyzing the collage as artistic process. For this, we traced a history of collage that passed trough Cubism, Dadaism, Surrealism and Pop Art. In each of these historical moments we could perceive the meaning of the use of collage as an artistic language. After that, we analyzed the collage’s process in imaging techniques, resulted from photography such as in the photomontages, movie and digital collage. And finally, we conducted interviews with Brazilian artists and visited to museums and galleries to see how the collage has been part of contemporary art
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Souza, Alan Brasileiro de. "Angústia : um romance construído entre texto e ícone." reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/32000.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018.Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-05-03T12:32:19Z No. of bitstreams: 1 2017_AlanBrasileirodeSouza.pdf: 2124164 bytes, checksum: 741306fa3647a86906744a9db88f1745 (MD5)
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Fundação de Apoio à Pesquisa do Distrito Federal (FAP-DF).
Este trabalho busca analisar as relações estabelecidas entre a linguagem literária e a linguagem pictórica de cunho cubista no texto do romance Angústia ([1936] 2009) de Graciliano Ramos (1892 – 1953). Para tanto, parte-se do entendimento de que o modo fragmentário em que o olhar do narrador-personagem Luís da Silva articula-se na composição do relato produz homologias estruturais com as técnicas da pintura cubista. Depois de estudarmos o funcionamento dessas técnicas implicadas com o exame do texto e de buscar as relações e os sentidos desses aspectos na estruturação do romance de Graciliano Ramos, chegamos à conclusão de que existe um diálogo intermídia que evidencia a fricção entre traços pictóricos e imagens literárias nas páginas de Angústia. O efeito produzido pela tensão entre literatura e pintura na obra é a singularização do romance como uma peça que, dente tantas outras no Romance de 1930, reflete sobre o contexto da industrialização e da modernização do país nas primeiras décadas do século XX.
This dissertation intends to analyze the relations established between the literary language and the pictorial language of Cubism in the text of the novel Angústia ([1936] 2009) by Graciliano Ramos (1892 – 1953). For this purpose, it was assumed that the fragmentary way in that the look of the narrator-character Luís da Silva articulates in the composition of the report produces structural homologies with the techniques of the cubist painting. After studying how these techniques involved with the examination of the text works and finding out the relations and the meanings of those aspects into the structure of Graciliano’s novel we concluded that there is an intermedia dialogue that highlights the friction between pictorial traits and literary images in Angústia pages. The effect produced by the tension between literature and painting in the work is the singularization of the novel as a piece that, among many other in the 30’s Novel, reflects about the industrialization e modernization context of the country in the first decades of the XX century.
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LIMONCIN, PAOLA. "Trasparenza interrotta – Considerazioni intorno al terzo saggio sulla Trasparenza di Colin Rowe e Robert Slutzky." Doctoral thesis, Università degli Studi di Trieste, 2016. http://hdl.handle.net/11368/2908482.
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La ricerca intende approfondire una lettura critica dei due saggi sulla Trasparenza di Colin Rowe e Robert Slutzky, allo scopo di ricostruire i motivi della mancata stesura di un terzo scritto inizialmente previsto. L’atteggiamento del “presumere”, centrale nell’approccio rowiano, sta alla base delle riflessioni di questa ricerca per indagare quale sarebbe stato il contenuto di questo terzo testo, attraverso un percorso tra varie declinazioni di trasparenza, dall’arte all’architettura, che Rowe e Slutzky attribuiscono all’effetto dell’opera sull’osservatore. Le analisi della scelta e collocazione degli elementi compositivi, in un gioco di percezione tra figura-sfondo, piani sovrapposti e campi di forze idrodinamiche, determina l’emergere di concezioni diverse di trasparenza, che rappresentano posizioni differenti rispetto al ruolo della composizione nel progetto architettonico e che avrebbero determinato l’abbandono della stesura dell’ultimo saggio.
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Bernardo, Juliana Ferreira. "Colagem nos meios imagéticos contemporâneos /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/86944.
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Orientador: Milton Terumitsu SogabeBanca: Silvia Miranda Meira
Banca: Agnaldo Valente Germano da Silva
Resumo: A presente pesquisa tem por objetivo a análise da colagem como procedimento artístico. Para isto, foi traçado um histórico da colagem que englobou o Cubismo, o Dadaísmo, o Surrealismo e a Arte Pop. Em cada um destes momentos históricos, percebemos o significado do emprego da colagem como linguagem artística. Em um segundo momento, analisamos o processo da colagem nas imagens técnicas, sobretudo naquelas decorrentes da fotografia, como, por exemplo, nas fotomontagens, no cinema e na colagem digital. E, finalmente, realizamos entrevistas com artistas brasileiros e visitamos museus e galerias com o intuito de verificar como a colagem tem feito parte da arte contemporânea
Abstract: This study aims at analyzing the collage as artistic process. For this, we traced a history of collage that passed trough Cubism, Dadaism, Surrealism and Pop Art. In each of these historical moments we could perceive the meaning of the use of collage as an artistic language. After that, we analyzed the collage's process in imaging techniques, resulted from photography such as in the photomontages, movie and digital collage. And finally, we conducted interviews with Brazilian artists and visited to museums and galleries to see how the collage has been part of contemporary art
Mestre
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Febvre-Flory, Marie-Cecile. "Le cubisme des poètes : étude des relations complexes entre la peinture cubiste et le langage : Apollinaire, Cendrars, Cocteau, Jacob, Reverdy." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0079.
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Cette étude aborde les relations intersémiotiques qui se sont nouées entre la peinture cubiste et les poètes qui fréquentaient les artistes de ce mouvement. La proximité de leurs questionnements montre que, en dépit du fait que l’histoire littéraire française ne reconnaisse pas de mouvement cubiste en poésie, il existe de nombreux points de concordance entre ces deux domaines. En tant que critiques, les poètes ont beaucoup écrit sur le mouvement, dont ils ont entrepris de se faire les défenseurs, même s’ils ont eu des difficultés à rendre compte de la richesse du cubisme. Cette peinture se présente en effet comme un obstacle au langage et à l’herméneutique, ce que l’on constate tout particulièrement avec la question de l’ekphrasis. De sorte que seule la puissance figurale du langage poétique permet au langage de rendre compte de celle de la peinture cubiste.Ce travail s’interroge sur la spécificité de ce mouvement pictural et sur les conditions de possibilités d’une analyse conjointe de cette peinture et de la poésie qui lui est contemporaine. Il s’agit aussi d’analyser les aspects du cubisme qui ont intéressé les poètes, ainsi que la manière dont ils ont surmonté la résistance qu’oppose la peinture au langage. L’utilisation d’un même métalangage pour la peinture cubiste et la poésie permet en fin de compte de travailler, malgré les limites inhérentes à cet exercice, sur la correspondance des arts et de trouver des similarités en ce qui concerne le mode d’apparition des œuvres, de leur structure et de la poïétique qu’elles incarnentThis thesis studies the intersemiotic relationship that links cubist painting and the poets who were in relation with the artists of this movement. The proximity between their creative interrogations shows that, despite the fact that the French literary history doesn’t recognize a cubist movement, there are nevertheless some concordance between these two artistic fields. As critics, the poets wrote a lot about cubism, being its defenders, however, they had some difficulties to translate into word the full measure of cubism, this art movement being an obstacle to language and to hermeneutic, as evidenced by the question of ekphrasis. Only the figural power of poetry can respond to that of this art.This study aims at wondering about the specificity of this pictorial movement and of the conditions of possiblity of a joint analysis of the cubist painting and the poetry wich is contemporary of it. Then, the aspects of cubism wich interested the poets are analyzed, as well as how they overcomed its resistance to language. At last, the fact that the same metalanguage can be use for both poetry and art allows to work, inspite of the limits inherent to this exercise, on the correspondance of the arts, to find junction points as regards the mode of appearance of the works, their structure, and the poietic they embody
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Vancura, Milan Vladislav. "The architecture of Czech cubism." Diss., Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/22357.
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Smith, Jeffrey Statler. "Multi-camera: interactive rendering of abstract digital images." Thesis, Texas A&M University, 2003. http://hdl.handle.net/1969.1/341.
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The purpose of this thesis is the development of an interactive computer-generated rendering system that provides artists with the ability to create abstract paintings simply and intuitively. This system allows the user to distort a computer-generated environment using image manipulation techniques that are derived from fundamentals of expressionistic art. The primary method by which these images will be abstracted stems from the idea of several small images assembled into a collage that represents multiple viewing points rendered simultaneously. This idea has its roots in the multiple-perspective and collage techniques used by many cubist and futurist artists of the early twentieth century.
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Viegas, Miguel de Jesus. "Olhão, cidade cubista." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2016. http://hdl.handle.net/10400.5/12662.
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Chicha, Céline. "La gravure cubiste /." Paris : C. Chicha, 1996. http://catalogue.bnf.fr/ark:/12148/cb35868967c.
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Gonzalez, Menendez Maria. "Alfred Jarry, le Dieu sauvage des avant-gardes." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040196.
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Alfred Jarry est connu en tant qu’écrivain, poète et dramaturge, comme le créateur d’Ubu roi, du théâtrede l’absurde et d’opéras bouffes. Personnalité farouche, extravagante, sauvage, il fut admiré par l’avantgarde,que ce soit par Apollinaire, Marinetti, Tzara, Breton, mais aussi par de nombreux artistes.Cependant, Alfred Jarry reste aujourd’hui un inconnu de l’histoire de l’art.L’objet de cette recherche est de découvrir l’autre facette d’Alfred Jarry, celle de l’artiste, du critiqued’art, de l’esthète, du prophète et de comprendre la place de l’art dans sa vie et son influence sur lemilieu et la production artistique avant-gardiste. Au cours de cette étude nous chercherons à savoirpourquoi tant d’artistes divers, issus de différentes générations, lui ont rendu hommage tout au long duXXe siècle. Mais aussi pourquoi Jarry et sa créature Ubu sont devenus les fétiches créatifs d’artistescomme André Derain, Pablo Picasso et Joan Miró. La question se pose enfin de savoir pourquoi AndréBreton voit en Alfred Jarry un initiateur et un éclaireur esthétique dont le feu sauvage illumine lecheminement de l’avant-garde au XXe siècleAlfred Jarry was a renowned writer, poet and playwright, the famous creator of Ubu roi, he pioneeredthe Theatre of the Absurd and comic operas. Jarry’s fierce, extravagant and wild personality wasadmired by the key figures of the avant-garde such as Apollinaire, Marinetti, Tzara, Breton and otherartists alike. Nevertheless, Jarry still remains largely out of focus of current art historical research.The main objective of this survey is to uncover a different facet of Jarry’s personality that of an artist,art critic, aesthete, prophet, and to assess the role of art in his life as well as his influence on the avantgardecreative circles and its artistic outcome. This survey outlines the reasons for generations ofvarious artists paying homage to Jarry throughout the 20th century. The research uncovers the groundsfor Jarry’s and his creation Ubu’s turning into fetish-like figures for artists such as André Derain, PabloPicasso and Joan Miró. Finally we will focus on Andre Breton’s vision of Jarry as aesthetic pioneer andan innovator whose wild ideas served as a beacon to illuminate the way forward for the 20th centuryavant-garde
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Cicali, Ilaria. "Alexander Archipenko (1909-1914) : une oeuvre au carrefour des expériences de la sculpture moderne." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100094.
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Dès son arrivée à Paris en 1909, jusqu’au déclanchement de la guerre en 1914, Alexander Archipenko réalise environs cinquante sculptures, qu’il présente lors des salons des Indépendants et d’Automne, à l’occasion des manifestations cubistes, ainsi que dans deux expositions personnelles organisées en Allemagne, à Hagen et Berlin. Son nom apparaît souvent dans les comptes-rendus des salons publiés dans la presse de l’époque. Indiqué à la fois comme ‘sculpteur cubiste’ ou ‘novateur élégant’ (à savoir, à l’esprit décoratif), il participe avec son travail à ce croisement de chemins qui caractérise, au début du XXe siècle, le développement de la sculpture moderne. Cependant seulement une partie de cette production majeure est aujourd’hui connue, plusieurs œuvres ayant été dispersées ou retravaillées au cours du temps. Le but de la thèse a été celui de reconstituer ce corpus dans son état d’origine ainsi que son parcours d’exposition, afin de replacer l’œuvre d’Archipenko à l’intérieur de la scène artistique parisienne de l’avant-guerre pour la faire dialoguer avec celle de ses collègues, peintres et sculpteurs. Cela a été possible par le biais d’une analyse formelle pointue et d’un travail croisé sur la presse et les catalogues d’exposition de l’époque, et grâce au dépouillement de plusieurs fonds d’archives. Parmi lesquels, celui de la revue « Der Sturm » (Staatsbibliothek, Berlin), ainsi que les archives de la Archipenko Foundation (Bearsville, NY), et les Archives of American Art (Smithsonian Institution, Washington, D.C.). Il en sort le portrait d’un artiste qui, avec sa recherche, a pleinement embrassé l’esprit de découverte propre à son tempsBetween his arrival in Paris in 1909, and the outbreak of World War I in 1914, Alexander Archipenko created nearly fifty sculptures, which he presented at the Salon des Indépendants, the Salon d’Automne, numerous cubist exhibitions, as well as two personal exhibitions organized in Germany (Hagen and Berlin). His name appeared often in the reviews of the Salons that were published in the press. Considered as both a ‘cubist sculptor’ and a ‘novateur élégant’ (in the decorative sense), Archipenko actively participated in both of these artistic currents, which together led to the development of modern sculpture. Despite his importance, only part of his artistic production from this period is generally known today, many of the works were lost or re-worked at a later date. The aim of this thesis is to reconstitute his corpus of work in its original state, as well as document his participation in expositions, in order to place Archipenko’s artwork within the Parisian antebellum artistic scene, and in doing so, create a context in which his work may be compared to that of other sculptors, colleagues, and painters of the epoch. This work is based upon an attentive formal analysis of these works, and thorough review of the exhibition catalogue of the period. And also, by the analysis of different archives, among which the “Der Strum” archives (Staatsbibliothek of Berlin), the Archipenko Foundation’s ones (Bearsville, NY) and those of American Art (Smithsonian Institution, Washington, D.C.). From this research emerges the portrait of an artist who fully embraced the spirit of discovery of his times
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Matsui, Hiromi. "L'architectonique cubiste du corps : les schémas anatomiques chez Picasso et Raymond Duchamp-Villon, 1907-1918." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100038.
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Cette étude se focalise sur l’examen conjoint des représentations du corps dans les œuvres de Pablo Picasso et de Raymond Duchamp-Villon. Afin d’apporter un éclairage nouveau sur la représentation du corps cubiste, notre objectif est d’examiner la portée de la connaissance de l’anatomie artistique, branche scientifique se rapportant non seulement à l’anatomie (au sens plus spécifique de l’ostéologie et de la myologie) mais aussi à l’étude de la proportion humaine, à la physiologie, la physionomie, l’ethnologie, l’anthropologie et la morphologie. En élaborant une nouvelle interprétation des images cubistes qui la relierait à la fois à la science anatomique et au classicisme dans le cadre de l’histoire de l’art, notre recherche ouvre une étude morphologique du cubisme à de multiples disciplines, comme l’esthétique et l’épistémologie. Si la recherche picturale de Picasso porte sur la structure du corps humain, Duchamp-Villon cherche pour sa part à représenter le dynamisme et la vitalité du corps. En d’autres termes, en partant des mêmes savoirs scientifiques ces deux artistes proposent deux modalités différentes de l’architectonique de la représentation du corps : se dispensant de théoriser cette architectonique, Picasso et Duchamp-Villon découvrent une expression du corps qui leur est propre. Par ce biais, nous cherchons à mettre en lumière les modalités par lesquelles le schéma cubiste se forme dans l’oscillation entre art et sciences, intuition et intelligence, subjectivité et objectivité, métamorphose organique des images et modélisation mécanique du corpsThis study focuses on the analyses of the representations of the human body in the works of Pablo Picasso and Raymond Duchamp-Villon during their cubist periods. In order to shed some new light on the representation of the body in the cubist works of these two artists, the importance and the modality of the artistic anatomy is examined. This includes branches of science related not only to the anatomy (specifically osteology and myology), but also to the study of human proportion to the physiology, physiognomy, ethnology, anthropology, and morphology. Developing a new interpretation of Cubist images that is linked both with anatomical science and classicism in art historical context, this research corresponds to a morphological study of Cubism in multiple disciplines, such as aesthetics and epistemology. In particular, this study's aim is to consider two different forms of architectonic representation of the cubist body, starting from the same scientific knowledge. If research of Picasso is concerned mostly with the structure of the human body, Duchamp-Villon's seeks the dynamism and vitality of the body: far from axiomatizing scientific knowledge, the two artists rectify it in their own way to discover their unique expressions. Through this, the method by which the cubist pattern is formed in the oscillation between art and science is clarified, between: intuition and intelligence; subjectivity and the objectivity; and organic metamorphosis of images and the schematization of the mechanical body
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Bourgault, Mélissa. "Socrate : Autoportrait cubiste d'Erik Satie." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31108.
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Erik Satie fut toujours considéré comme un personnage énigmatique dans le monde musical français au tournant du siècle dernier. Sa personnalité marginale et ses œuvres dépouillées aux titres étranges ont maintes fois suscité questionnements et polémique. En 1917, Erik Satie écrivit une œuvre qui ne ressembla aucunement au répertoire antérieur du compositeur. Socrate, qui fut représenté publiquement pour la première fois en janvier 1920 à la Société Nationale de Paris, laissa le public et la critique perplexe et mitigé. Qu’avait donc de si particulier cette œuvre qui, d’un côté, passa pour une blague mais qui, pour certains dont le compositeur lui-même, fut considérée comme une manifestation pure de sagesse et de sincérité ?
Socrate fut conçu au même moment où Satie entretenait des liens étroits avec le monde cubiste. Pablo Picasso et Georges Braque furent désormais les maîtres d’un courant artistique qui allait révolutionner le monde artistique. De concert avec les valeurs avant-gardistes prônées par Erik Satie, les cubistes cherchèrent à bousculer les attentes du public en modifiant l’approche visuelle de manière à stimuler les différentes perceptions sensorielles. Avec le ballet Parade, représenté en mai 1917, le compositeur collabora avec Picasso et ceci eût grandement influencé son style musical puisqu’il employa des techniques se rapprochant grandement du cubisme. Comme le soutient Daniel Albright, Satie trouva dans le cubisme son analogue artistique. Selon moi, outre Parade, Erik Satie bénéficiera de l’esthétique cubiste pour développer son œuvre Socrate.
Cette thèse se concentre sur la signification de l’œuvre Socrate, plus particulièrement comment celle-ci pourrait représenter un autoportrait d’Erik Satie. De surcroît, elle examine comment cette représentation est camouflée derrière des méthodes cubistes traduites musicalement. La thèse s’appuie sur une littérature variée portant sur divers sujets relatant Socrate, dont la biographie du compositeur et sa relation avec des réseaux artistiques, intellectuels et sociaux. Cette thèse est la première étude d’envergure à suggérer une possibilité d’autoportrait cubiste musical puisque peu d’auteurs se sont attardés à résoudre cette problématique. Cette thèse décrit comment Socrate est une manifestation personnelle de sincérité et d’humilité d’un compositeur qui, persécuté tout au long de sa vie, se dévoila aux yeux de tous par le recours à cette figure emblématique de l’histoire : Socrate.
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Laterza, Lucia. "The Presence of Words in Visual Art from Surrealism to Conceptualism." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7377/.
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Without a doubt, one of the biggest changes that affected XXth century art is the introduction of words into paintings and, in more recent years, in installations. For centuries, if words were part of a visual composition, they functioned as reference; strictly speaking, they were used as a guideline for a better perception of the subject represented. With the developments of the XXth century, words became a very important part of the visual composition, and sometimes embodied the composition itself.
About this topic, American art critic and collector Russell Bowman wrote an interesting article called Words and images: A persistent paradox, in which he examines the American and the European art of the XXth century in almost its entirety, dividing it up in six “categories of intention”. The aforementioned categories are not based on the art history timeline, but on the role that language played for specific artists or movements.
Taking inspiration from Bowman's article, this paper is structured in three chapters, respectively: words in juxtaposition and free association, words as means of exploration of language structures, and words as means for political and personal messages. The purpose of this paper is therefore to reflect on the role of language in contemporary art and on the way it has changed from artist to artist.
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Cottington, David. "Cubism and the politics of culture in France 1905-1914." Thesis, Courtauld Institute of Art (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242602.
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Laguzet, Laetitia. "La carte dans l'art contemporain depuis le cubisme : jeu et divination." Paris 1, 2011. http://www.theses.fr/2011PA010701.
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Du cubisme aux artistes du XXIe siècle, la carte apparaît progressivement dans le tableau jusqu’à s’en extraire pour s 'exposer comme une oeuvre d'art. D'abord simple jeu, enjeu d'une scène de genre, la carte à jouer, cet objet populaire autour duquel soldats, joueurs de petite ou noble condition se retrouvent à arme égale, se présente dans le cubisme comme une métaphore du tableau. Peu à peu, les signes et les figures sortent de la carte pour investir seuls le tableau, à moins qu'il soit plus à propos de constater la fusion entre la carte et le tableau qui ne sont plus qu'un seul espace de composition. Le phénomène inverse est observé dans les oeuvres de Masson qui, le premier intègre la figure divinatoire, le Bateleur, dans l'Homme à l'Orange. Néanmoin, rapidement, le tarot comme la carte à jouer, se substitue au tableau et même à la sculpture el à l'architecture, notamment chez Niki de Saint Phalle, Matta, Corpet, Dubuffet, Dali, Ie groupe surréaliste retenu à Marseille en 1941, élaborent leur propre jeu.
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Andrus, Timothy G. "Stuart Davis's Early Theoretical Writing, 1918–1923: Realism, Cubism, and Dada." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4589.
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This dissertation provides the first in-depth examination of American artist Stuart Davis’s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, inlcuding his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927–1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis’s concept of realism. This study traces the origin of Davis’s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis’s notion of realism informed both the development of his style and his iconography in his works of the 1920s.
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Jeridi, Sihem. "Les enjeux humanistes du dialogue entre poésie et peinture dans Les écrits sur l'art de Francis Ponge." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100064.
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Francis Ponge a entrepris un dialogue avec la peinture en vue d’interroger les fondements d’une telle interférence telle qu’elle se manifeste dans le cadre parisien du 20ème siècle. Ce rapport conçu par le poète comme une alliance participe de l’instauration d’une philosophie humaniste qui clame son attachement au réel comme principe majeur de la création artistique et poétique. L'unité thématique et technique qui régit les textes repose sur des rapprochements systématiques qui concernent plusieurs aspects : parallélisme des pratiques, convergence des visions de l'art, unicité de la définition d'artiste... Ponge prépare le terrain à un nouveau tournant dans son œuvre qui est le dialogue entre l’écriture et la peinture, une pensée qui s'est installée définitivement dans les pages de L'Atelier bien qu'elle se déploie tout au long de ses textes et notamment les premiers. D'une réflexion qui se profile en filigrane sous la forme d'une métaphore filée, la pensée sur l'art revêt un statut majeur dans la poétique de PongeFrancis Ponge undertook a dialogue with the painting to question the foundations of such interference such as it shows itself in the Parisian frame of the 20th century. This relationship conceived by the poet as an alliance participates of the institution of a humanist philosophy which cries out its attachment in the reality as the major principle of the artistic and poetic creation. The thematic and technical unity which governs texts relaying on systematic links which concern several aspects: parallelism of the practices, the convergence of the visions of the art, the uniqueness of the definition of artist... Ponge prepares the ground for a new turning point in its work which is the dialogue between the writing and the paint a thought which settled down definitively in the pages of The Workshop although it displayed throughout its texts in particular the first ones. Of a reflection which is outlined between the lines under the shape of a spun metaphor, the thought on the art dresses a major status in the poetics of Ponge
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Beauchemin, Anne. "L'image cubiste et la question de l'autoréférence." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22040.
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This thesis addresses the problems of the autoreferentiality of artworks and of meaning-making. It focuses on Cubism, particularly on artworks by Pablo Picasso and Georges Braque. The aim of this research is to demonstrate how meaning is constructed in these ambiguous artworks through the interplay of the concepts of referentiality and autoreferentiality. It contends that we cannot abstract or neglect any of these principles without distorting the aesthetic quality of these artworks. This research outlines, in this sense, a current problem in the historiography of Cubism, that is, the ambivalence between a process of internal meaning versus of external meaning, which are currently considered as antithetic phenomena. It also contends that only when we consider the conceptual structure of these artworks, can we fully understand their polysemical character or multi-level significance. The main theoretical framework for this analysis is Roman Jakobson's model of communication which provides a definition of the concept of autoreferentiality as a self-addressing process, through its notions of « message » and «poetic function ». Four aspects of the problem of autoreferentiality are thus examined, through the notions of « context », « destinator », « code », and « receptor » as well as their interrelationships in the artworks. It is also in referring to the modern definitions of sign that the problems of autoreferentiality and meaning-making are addressed.Cette thèse s'intéresse au problème de l'autoréférence ainsi qu'à celui de la constitution du sens de l'oeuvre d'art. Elle a pour objet d'étude le cubisme, en particulier celui de Pablo Picasso et de Georges Braque. L'objectif principal de cette recherche est de démontrer comment s'élabore, par le croisement des concepts de référence et d'autoréférence, le problème de la signification dans ces oeuvres au caractère pour le moins ambigu. La thèse défendue est qu'on ne peut, sous peine de dénaturer l'oeuvre cubiste, faire abstraction de l'une ou l'autre des composantes référentielles et autoréférentielles qui la définissent esthétiquement. Cette recherche s'intéresse, en ce sens, à un problème récurrent dans l'historiographie du cubisme, à savoir celui de l'ambivalence entre la signification interne et la signification externe, qui ont tendance à être vues comme des phénomènes antithétiques. Cette thèse défend aussi l'idée que c'est seulement en considérant la structure conceptuelle de l'oeuvre cubiste qu'on est en mesure de mettre en relief son caractère polysémique. Le cadre théorique général de cette analyse est celui du modèle de la communication de Roman Jakobson, chez qui les concepts de « message » et de « fonction poétique » définissent une caractéristique première de l'oeuvre d'art : celle de se rapporter à soi. À partir de ce modèle sont explorées quatre facettes du problème de l'autoréférence à parttir des notions de « contexte », de « destinateur », de « code » et de « destinataire », dans une mise en valeur de leurs interrelations dans l'oeuvre. C'est ainsi, et en référence aux conceptions modernes de signe, que sont approchés les problèmes de l'autoréférence et de la signification.
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Yock, Ok Soo. "La façade épaisse." Paris 1, 1999. http://www.theses.fr/2000PA010550.
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Si l'architecture debute a partir de l'objectif principal de stabiliser la vie humaine, la facade est avant tout une surface de demarcation qui est sans rapport entre l'exterieur et l'interieur. Mais, dans l'architecture d'aujourd'hui ou la ville et l'architecture sont liees etroitement, la facade doit etre concue en rapport reciproque. L'idee principal de la facade epaisse, c'est d'abord d e tenir compte de l'architecture et de la ville. L'activation de la facade epaisse est dependante du role du corps intermediaire qui maintient de maniere relationnelle entre l'exterieur et l'interieur de l'architecture. Dans la relation entre les deux, nous pouvons nous inspirer de peinture qui traite cet rapport. C'est l'apport realise par les cubistes. Nous pouvons examiner, du point de vue du fond, de l'objet et de l'espace intermediaire, la methode par laquelle l'on peut exprimer la profondeur selon la disposition differente. Dans le premier cas, le fond se trouve derriere et l'objet devant. Ensuite, l'objet et le fond dont de meme importance et l'espace intermediaire assure la profondeur. Finalement, le fond est situe en avant et l'objet en arriere. Appuyee sur la theorie du cubisme, la facade epaisse intensifie son effet, a travers l'etablissement du rapport entre facade exterieure et facade interieure, engendres par le changement de l'espace intermediaire. La prise en compte de l'epaisseur ne peut se limiter a l'etude d'un entre deux compris entre logement et la ville. De plus, la facade epaisse nous donne grande qualite de promenade architecturale.
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Quintana, Marín María Isabel. "Du cubisme à d'autres cathédrales : Diego Rivera et l'"Art Social" d'Elie Faure." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H032.
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Installé à Paris en 1911, Diego Rivera se rallie au cubisme pour retourner au réalisme en 1918. A cette époque, il tisse une amitié riche en échanges avec Élie Faure, socialiste comme lui. Faure voit chez l'artiste "une source inépuisable de surprises et d'enseignements»; Rivera considère l'historien de l'art comme l'un de ses« maîtres". Élie Faure a une compréhension de la société et de l'art basée sur la contribution de personnalités qui ont bouleversé la pensée et les arts depuis la Révolution française: Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, entre autres. Déclarant l'échéance de l'esprit individualiste de la Renaissance, il annonce l'avènement d'un rythme collectif d'expression artistique sociale et monumentale, notamment architecturale, dont l'intention de «construire» en peinture est un symptôme. Le Moyen-âge français lui fournit un paradigme de l'ordre collectif et de I' «Art social», la cathédrale comme étant la plus parfaite expression, manifestation de la collaboration humaine et symbole même d'une civilisation. En 1921, décidé à militer pour l'établissement d'un nouvel ordre social, Rivera rentre dans son pays. Il est passionné par la socialisation de l'art et par l'architecture. Son discours et ses démarches révèlent ses affinités intellectuelles avec l'historien de l'art français et exprime une volonté de mener à son accomplissement l'"Art social". Cependant, les idées du peintre évoluent avec les évènements politiques, sociaux et culturels du Mexique, tenant compte du contexte mondial. Cet échange franco-mexicain illustre la complexité des transferts qui conduisent aux discours actuels de la mondialisation artistiqueMoving to Paris in 1911, Diego Riverais won over to Cubism only to return to Realism in 1918. During that period, he builds a rich friendship with Elie Faure, a socialist like him. Faure sees in the artist ''an endless source of surprises and lessons." Rivera considers the art historian Faure as one of his "masters. "Elie Faure has an understanding of society based on the contribution of individuals who have changed thinking and the art since the French Revolution : Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, and others. Declaring the end of the individualistic spirit of the Renaissance, he announces the beginning of a collective rhythm of social and monumental artistic expressions, especially in architecture, with the intention to "construct" by painting as an indication. The French Middle Ages provides Elie Faure with a paradigm of collective order and "Social Art," of which the cathedral is the most perfect expression - a manifestation of perfect human collaboration and a symbol of a civilization. In 1921, having decided ta campaign for the establishment of a new social order, Rivera returns ta his country. He is passionate about the socialization of art and architecture. His speech and his actions reveal his intellectual affinity with the French art historian and show a willingness to carry to completion "Social Art. "However, the painter 's ideas evolve with the political, social, and cultural events of Mexico, taking into account the global context. This Franco-Mexican exchange illustrates the complexity of the transfers that lead to the current globalization of artistic discourse
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Fahd, Marie. "La modernité de l'origine : acentralité et cubisme narratif dans The Recognitions de William Gaddis." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC137.
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Cette thèse porte sur William Gaddis (1922-1998), écrivain majeur de la littérature américaine, traditionnellement associé à la mouvance postmoderne, et sur son premier roman The Recognitions (1955). Ce travail s’inscrit dans une perspective interdisciplinaire, il est à la croisée des champs d’étude entre la littérature, la peinture, la philosophie et l’histoire des religions. L’enjeu principal consiste à montrer que le William Gaddis de 1955 est un écrivain moderne – c’est-à-dire ni moderniste ni postmoderniste – car son premier roman l’est. La réflexion de Gaddis sur l’absence de centre, liée à la perte d’une origine stable, témoigne de sa modernité. Son ironie à l’égard du passé et sa distance critique à l’encontre de la religion et de l’esthétique souligne sa modernité. Son approche nouvelle de l’origine en art la met en évidence. De même, son étude sur le faux et l’authenticité, sur l’art et l’origine indique sa modernité. L’interaction qui se joue entre peinture et écriture dans The Recognitions contribue également à la révéler. L’acentralité, le cubisme narratif et la modernité de l’origine sont les trois concepts critiques proposés qui permettent d’analyser la modernité à l’œuvre dans The Recognitions. Ils envisagent trois variations de la modernité dans le roman qui mènent à une réflexion sur la créationThis doctoral dissertation focuses on The Recognitions (1955), which was the first novel by the major American writer, William Gaddis (1922-1998), who is generally classified as a postmodernist. By addressing this work through an interdisciplinary lens, I have chosen to place it at a crossroads between literature, painting, philosophy and the history of religions. The aim is to show that especially in Gaddis’s initial literary effort, the author can be seen as an exponent of a kind of modernity—which is not entirely modernist or postmodernist as traditionally defined--notably in his exploration of centerlessness, as articulated in the loss of a stable origin. In the same modern vein is the author’s ironic attitude toward the past and his maintaining of a certain critical distance from religion and aesthetics. His inventive approach to the theme of origins in art as well as his treatment of fakeness, forgery and authenticity highlight his modernity. In addition, his modern approach in The Recognitions will be shown to be revealed in the interplay between painterly and literary techniques and concerns. Centerlessness and cubism in the novel’s narrative techniques and the notion of origin in art are three critical concepts. They allow us to envision three variant threads of Gaddis’s modernity, opening up a profound meditation on artistic and literary creation
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Flyckt, Magnus. "Cubieo: Ambiguity in Tangible Collaborative User Interfaces." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19640.
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This study investigates how ambiguous qualities in a tangible user interface can generate collaboration between the users of the artifact. The goal of the ambiguous qualities is to not have an interface with a generally accepted way of interaction. In this manner the participants are challenged in their own perception of what a tangible user interface consists of. Interactions with physical objects instead of a standard mouse/keyboard input can explore new techniques of interaction.
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Gariépy, Florence, and Florence Gariépy. "Vibrisme et Cubisme : étude d'oeuvres à thème sportif de Rij-Rousseau dans les années 1920." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37360.
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Cette étude porte sur la pratique de l’artiste française Jeanne Rij-Rousseau (1870-1956). Au début du XXe siècle, cette créatrice évolue dans les cercles d’avant-gardes parisiens. Bien que ses œuvres soient régulièrement associées à l’esthétique cubiste, elle développe une technique originale, qu’elle appelle le vibrisme, et qui lui vaut une certaine reconnaissance de son vivant. Aujourd’hui toutefois, son œuvre est tombé dans l’oubli. L’objectif de cette première étude universitaire est de contribuer à la connaissance de cette figure. Ce mémoire vise à faire ressortir la spécificité de sa production artistique. Les nombreuses représentations de l’univers du sport qu’elle réalise dans les années 1920 ont particulièrement contribué à la fortune critique de l’artiste. L’étude s’appuie donc sur un corpus thématique d’œuvres à thème sportif qui incarnent la recherche d’une modernité plastique : Les Courses, Les Rameurs, Géo-Charles au Vélodrome d’Hiver et Les Lutteurs. L’analyse détaillée de celles-ci permet de mettre en valeur les rapports de l’art de Rij-Rousseau avec celui des cubistes et des futuristes, et de mieux situer son apport à l’histoire de l’art moderne.Cette étude porte sur la pratique de l’artiste française Jeanne Rij-Rousseau (1870-1956). Au début du XXe siècle, cette créatrice évolue dans les cercles d’avant-gardes parisiens. Bien que ses œuvres soient régulièrement associées à l’esthétique cubiste, elle développe une technique originale, qu’elle appelle le vibrisme, et qui lui vaut une certaine reconnaissance de son vivant. Aujourd’hui toutefois, son œuvre est tombé dans l’oubli. L’objectif de cette première étude universitaire est de contribuer à la connaissance de cette figure. Ce mémoire vise à faire ressortir la spécificité de sa production artistique. Les nombreuses représentations de l’univers du sport qu’elle réalise dans les années 1920 ont particulièrement contribué à la fortune critique de l’artiste. L’étude s’appuie donc sur un corpus thématique d’œuvres à thème sportif qui incarnent la recherche d’une modernité plastique : Les Courses, Les Rameurs, Géo-Charles au Vélodrome d’Hiver et Les Lutteurs. L’analyse détaillée de celles-ci permet de mettre en valeur les rapports de l’art de Rij-Rousseau avec celui des cubistes et des futuristes, et de mieux situer son apport à l’histoire de l’art moderne.
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Iconomopoulou, Christina. "Le spectacle populaire, les mouvements cubisme-futurisme et leur alliance esthétique dans le ballet Parade." Paris 4, 1998. http://www.theses.fr/1998PA040061.
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Le ballet Parade, présenté pour la première fois en 1917, fut le résultat de la collaboration créative entre Jean Cocteau, Erik Satie, Pablo Picasso et Léonide Massine. A travers une analyse menée en profondeur, l'auteur instaure des correspondances éloquentes entre l'esthétique de plusieurs distractions populaires en vogue durant les années '10 à Paris, et l'élaboration du livret, du rideau et des costumes, de la musique et de la chorégraphie du spectacle, sans pour autant délaisser les aspects de parade -tels que le décor et les costumes-constructions des managers, le grimage d'un des protagonistes du ballet et le bruitisme de la musique- qui semblent être directement influencés par les principes du cubisme et du futurisme. Par la suite, l'auteur repère les processus esthétiques grâce auxquels s'effectue dans le ballet, l'alliance du spectacle populaire et des mouvements cubisme-futurisme. L'étude sur le ballet parade s'achève sur la mise en évidence de sa valeur moderniste, son importance pour l'évolution de la troupe dans laquelle il est né, et son apport dans la carrière ultérieure de ses demiurges.
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Souffrin, Paul. "Raymond Queneau, les peintres et la peinture." Paris 3, 2008. http://www.theses.fr/2008PA030025.
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Poète et romancier, Raymond Queneau était aussi peintre. Peu de spécialistes de Queneau se sont penchés sur cet aspect de son oeuvre. Quelles circonstances l’ont amené à peindre ? Son enfance havraise a joué le rôle de déclencheur. Très tôt et avant même d’écrire, il a dessiné et peint. À une période de sa vie, devant l’insuccès de ses oeuvres littéraires, il a pensé faire une carrière de peintre. Il a fréquenté les musées et rencontré de très grands peintres (Miró, Dali, Picasso, Chaissac, Lascaux, Hélion, Prassinos et Dubuffet). Malgré son goût pour la peinture et son amitié pour de nombreux artistes, il est resté écrivain et a cessé assez vite de poursuivre sa carrière de peintre tout en continuant à peindre en amateur. Comme ses écrits critiques sur la peinture, ses toiles sont originales et constituent le fruit d’une réflexion profonde sur les interférences entre littérature et peinture. La présence de l’art et des artistes, tant dans son oeuvre poétique que romanesque, et l’influence de peintres-écrivains servent à éclairer ces interférences. Préfaces et correspondances nous apprennent que Queneau n’était pas un critique d’art traditionnel. Nous montrons les influences qu’il a subies, les peintres qu’il a copiés voire pastichés. Nous recensons sa production picturale malgré la difficulté d’un classement chronologique : il datait très rarement ses gouaches ou ses aquarelles et les titrait aussi peu. Enfin, nous étudions l’influence de l’amateur d’art sur ses illustrateurs et sur son fils peintre et la continuité de sa pensée qu’assurent les recherches de l’Oupeinpo même si Queneau est aujourd’hui surtout reconnu comme un des grands écrivains du XXe sièclePoet and novelist, Raymond Queneau was also a painter. He was born in Le Havre on february 21, 1903, the only child of two haberdashers. What circumstances brought him to paint ? He grew up under the watchful eye of an over protecting mother. He said he complained of a lack of love during his childhood. After his baccalaureat he went to Paris with his parents and he studied at the Sorbonne and met the surrealist group. He began to frequent the Central Bureau of Surrealist Research. He met the most famous painters of the century. At a time, as he did not earn enough money with his novels he thought he could try to be a painter. He visited a lot of museums, was a friend ofMiro, Helion, Labisse, Chaissac and Dubuffet. Noël Arnaud wrote “Queneau is one with whom one can talk about painting”. As a fact, he drew and painted as a young child before he could read and write. He subscribed at the ABC School whose program was “If you can write you are able draw!”. Very few of the Queneau’s specialists have been interested by this part of his work. None of his numerous foreign translaters were. Himself recognised as soon as 1950, that his pictures where not good enough to make him an important artist, but in his poems and novels (especially The Blue flowers) he introduces a great number of painters, famous or not. Nowadays he his really recognised as one of the most important writers of the XXth century
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Edwards, Portia. "Mixing media : Cubist painterly practice in Paul Strand's photography (1915-1917)." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1195168682.
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Shapira, Aithan. "The Fold with The Decline of the Empire: Three Essays and a Letter." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9513.
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This thesis implements the principles of Gilles Deleuze’s theory modeled in The Fold [1993] , a framework for presenting multiple perspectives simultaneously. The Deleuzian fold is established as a lens through which to view artists’ approaches to their process of making, with complex linkages referencing aspects of their surroundings, their generation and previous generations. The investigation focuses on the fold concept’s analysis of the production of subjectivity—the process of shifting perspective recursively. The methodology builds on theories and critical literature to: define the fold; give visual context by presenting its role in Cubism; establish the fold’s integral role to the way our brain works—the process that concurrently collects, edits, and stores information as comparisons—that is the fabric of the contemporary arena; present examples of its applications in contemporary artists’ processes and the significance of folding and unfolding within my work. The thesis is structured in two sections: ‘The Fold’ and ‘Artists Background and Imagery’. ‘The Fold’ establishes theory surrounding principles of the Deleuzian fold, the way it coincides with the Cubist movement, and its application in contemporary artists’ processes. ‘Artist’s Background and Imagery’ is structured to present ‘The Fold’ research’s relevance to my background and application in my practice. The multiple perspectives I have lived as son to immigrants—mother a refugee from Baghdad to Israel, father rooted ten generations in Jerusalem—and first in my extended family to attend college, constitutes the borderless, imbricated placement of thought that founds my imagery and institutes my making process. The act of folding is the act of evolving possibilities. The subject of the fold suggests—as the aspiration of a work of art—that witnessing a work of art is witnessing the profound act of life.
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Liard, Gilles. "La grille : de l'archétype à sa transgression (dans la peinture moderne, du cubisme aux années minimalistes)." Paris 8, 2000. http://www.theses.fr/2000PA081736.
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Image de la modernite, la figure de la grille est reperable dans toutes les periodes de l'expression picturale, depuis 1907 jusqu'aux annees 1960. D'abord virtuelle, consequence d'un processus analytique dans les oeuvres des peintres cubistes, la grille s'est ensuite imposee comme un outil, participant a l'expose de l'esthetique des theoriciens, soutenant les methodes des pedagogues, organe experimente garant de la structure de l'oeuvre. Matrice de dispositifs picturaux, paree de son statut d'archetype, la grille a apporte la clarte au plan mis en vue du tableau ; assise probante de l'objet peint, elle a impulse l'elaboration des procedes plastiques adequats. Chargee de montrer le bien-fonde d'une demarche, la grille a transmis et s'est transmise, dotant l'oeuvre ainsi que son auteur de l'aura moderniste. Elle a participe a la constitution du mythe de la modernite comme structure ouverte a l'alterite. Objet reel reproductible, elle est un bien partage, un lien entre les poles de creation et les evenements artistiques de l'histoire de son siecle, solidaire des caracteres modernistes exprimes. Aux fonctions dont les peintres avaient jusqu'alors voulu doter la grille s'ajoute la dimension metaphorique. Le reseau conventionnel se refere a une realite exterieure a l'objet specifiquement pictural. Il sert de tremplin aux propos qui excedent les rigueurs formelles et les limites imposees aux genres. La grille integre son propre depassement. Elle est appelee a sa propre transgression. L'objet, singulier desormais, fonde sur des relations poetiques, donne a voir et signifie ; il doit resonner en atteignant son public. Les dispositifs plastiques de trois peintres particuliers sont etudies dans la 2eme partie de ce memoire : jasper johns met en scene la realite de son quotidien et la perception qu'il en a. Brice marden mene dans la dissolution de la grille une quete spirituelle des energies environnantes. Francois rouan met en oeuvre une poetique de la materiologie, une esthetique de la transmutation. Chez ces artistes, la grille genere des images propres, consubstantielles aux procedes. La foi en la viabilite de la peinture a la fin du xxeme siecle est la marque du caractere utopique, que la grille a toujours soutenu, des demarches plastiques analysees ici.
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Fry, Laura D. ""The dawn is behind your picture" musical cubism and surrealism in Francis Poulenc's Le travail du peintre /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1171910432.
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Weston, Dagmar Motycka. "The problem of space in early twentieth-century art and architecture." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360764.
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Luker, Trish, and LukerT@law anu edu au. "THE RHETORIC OF RECONCILIATION: EVIDENCE AND JUDICIAL SUBJECTIVITY IN CUBILLO v COMMONWEALTH." La Trobe University. School of Law, 2006. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20080305.105209.
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In August 2000, Justice O�Loughlin of the Federal Court of Australia handed down the decision in Cubillo v Commonwealth in which Lorna Cubillo and Peter Gunner took action against the Commonwealth Government, arguing that it was vicariously liable for their removal from their families and communities as children and subsequent detentions in the Northern Territory during the 1940s and 1950s. The case is the landmark decision in relation to legal action taken by members of the Stolen Generations.
Using the decision in Cubillo as a key site of contestation, my thesis provides a critique of legal positivism as the dominant jurisprudential discourse operating within the Anglo-Australian legal system. I argue that the function of legal positivism as the principal paradigm and source of authority for the decision serves to ensure that the debate concerning reconciliation in Australia operates rhetorically to maintain whiteness at the centre of political and discursive power. Specifically concerned with the performative function of legal discourse, the thesis is an interrogation of the interface of law and language, of rhetoric, and the semiotics of legal discourse.
The dominant theory of evidence law is a rationalist and empiricist epistemology in which oral testimony and documentary evidence are regarded as mediating the relationship between proof and truth. I argue that by attributing primacy to principles of rationality, objectivity and narrative coherence, and by privileging that which is visually represented, the decision serves an ideological purpose which diminishes the significance of race in the construction of knowledge.
Legal positivism identifies the knowing subject and the object of knowledge as discrete entities. However, I argue that in Cubillo, Justice O�Loughlin inscribes himself into the text of the judgment and in doing so, reveals the way in which textual and corporeal specificities undermine the pretence of objective judgment and therefore the source of judicial authority.
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Luker, Trish. "The rhetoric of reconciliation : evidence and judicial subjectivity in Cubillo v Commonwealth /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080305.105209/index.html.
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Thesis (Ph.D.) -- La Trobe University, 2006.Research. "A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy, La Trobe Law, Faculty of Law and Management, La Trobe University, Bundoora, Victoria". Includes bibliographical references (leaves 318-338). Also available via the World Wide Web.
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Groves, Jeff David. "Video sculpture:spatio-temporal warping." Texas A&M University, 2003. http://hdl.handle.net/1969.1/508.
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In this thesis the concept behind our notion of video sculpture is to imagine an image sequence or movie as a three dimensional volume. We then also imagine that there is a frameset that traverses the image sequence to give us what we commonly think of as a video or movie. In the ordinary sense this frameset moves through an image sequence in a completely timeparallel linear fashion. In video sculpture, we free the frameset from these bounds so that we can sample space and time in completely unorthodox ways. We can view the whenwhere in previously unforeseen perspectives. Slices of the video environment can simultaneously reveal both past and future actions within a single frame.
Building on this free representation of video spacetime, we then wrest the frame once more from the present constraints of topography and/or topology. The frame can bend and twist and jump and dive. The view of a fading quadratic surface cutting through two scenes makes for a beautiful curtain transition. We present a framework and an implementation for modeling the frame as it passes through the image sequence volume object.
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Hannold, Allan. "Sculpture and environment." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/724982.
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The purpose of this creative project was to further the development of the artist's personal style. Also to produce an exhibition of sculpture that relate to each other through common themes and techniques. The exhibition would become a unique environment for the viewer.The artist used steel as a medium in the creation of his sculptures. Various types of steel where cut, forged, welded, and fabricated in order to produce and extend the vocabulary of the sculptures. Steel was used experimentally with line, texture, and bright color. The exhibited works were successful because they concentrated on abstract designs that resembled animal or personages with gestural and emotional content. The artist's exhibition displayed a direction of style that is distinctive. The style has a complexity within its asymmetrical design that simplifies gestural and emotional content. From this work the artist has drawn conclusions about found objects and constructivism. He will utilize this working knowledge in future projects.Department of Art
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Barfield, Naren Anthony. "Integrated artworks : theory and practice in relation to printmaking and computers, and the influence of 'non-Euclidean geometry' and the 'fourth dimension' on developments in twentieth-century pictoral space." Thesis, Open University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299913.
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Linde, Maria Adriana van der. "Pierre Reverdy, poésie nouvelle et peinture cubiste : théories et pratiques reverdiennes, 1913-1920 /." [S.l.] : [s.n.], 1988. http://catalogue.bnf.fr/ark:/12148/cb34960739p.
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Theodorakis, Styliani. "L'Avant-garde dans le cinéma des années vingt : le cubisme, l'art abstrait, et Dada en France et en Allemagne." Paris 1, 1985. http://www.theses.fr/1985PA01A042.
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Brauer, Fay Barbara. "L'Art revolutionnaire - the artist as alien : the discourses of cubism, modern painting and academicism in the radical republic." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241943.
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Stenbacka, Erik. "Cubieo : Observations of Explorative User Behavior with an Abstract Tangible Interface." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19639.
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Recent years have shown a broad spectra of tangible interfaces or TUI's, based upon interaction with music, but also other interfaces containing ubiquitous computing. This is an interesting field due to how engaging music can be and work as connector between people. But the field of human computer interaction has some explorational properties. This paper presents an idea of abstraction with a tangible interface for creating music. The idea behind abstraction of the interface is to engage the user(s) in exploring the artifact, rather than explaining the artifact to the user what can and cannot be done with the artifact.
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Žantovská, Murray Irena 1946. "Sources of cubist architecture in Bohemia : the theories of Pavel Janak." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60057.
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The sources of the theories underlying Czech Cubist architecture before World War I have been only sketchily studied to date. To analyze these theories and identify their sources, I focus on the work of architect and theorist Pavel Janak (1882-1956), an early proponent of Cubist architecture in Bohemia. The thesis incorporates my translation of Janak's unpublished journal for 1911-1914, the dominant years of Czech Cubism. Through this journal and Janak's published writings, together with an examination of his own readings, I trace the development of his theories, and situate his sources, within their historical context. Janak was no mere imitator of French Cubism but was concerned to develop innovative architecture that yet possessed both historical continuity and universal validity, thanks to its space-creating qualities.The thesis includes a facsimile of Janak's journal with its numerous sketches, a translation en face, and a complete bibliography of his sources.