Dissertations / Theses on the topic 'Gothic Art'

My research proposes an analytical engagement with the central functions of Phantasmagoria and the Wunderkammer, namely atmosphere and display. My paper is divided into six chapters; Chapter one proposes spectatorship as a common thread linking the Phantasmagoria to the Wunderkammer and offers an overview of the similarities and disparities between the two. Chapters two, three and four focus on constructs, definitions and implications of Gothicity within the context of Phantasmagoria, Horror films and contemporary art. Aligning my studio-based practice with contemporary artists' who engage with aspects of the Gothic spectacle. Chapter five contemplates the Wunderkammer in terms of its history and precursive archival practices. Chapter six offers an analysis of specific contemporary artists' attraction to archaic modes of display and provides a theoretical platform for my own conceptual engagement. The objective of my research has been to collate reference material aligned to various modes of historic and theoretical enquiry, thereupon concluding my studies in the 'staging' of Phantom in the Comer an immersive multi-media installation.

Thesis (M.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (December 13, 2006) Includes bibliographical references.

This is a project in two parts. The text presented here is the major component. This exegetical document provides the theoretical context for a series of media art works that were produced between 2011 and 2012 in response as much as in parallel to this analysis. The creative work, the online media assemblage Dark Euphoria: Unclassified Media (archived at http://darkeuphoria.info), should be seen in a non-traditional sense – a research-led practice component – contextualised by the broader theoretical narrative. Together, these two components produce a visual communication analysis of historical events, cultural artefacts and media art and the artists who produce them to reveal the nature, attraction and power of the dark euphoric temperament inherent in millennial technoculture. It is important to note however that this is a particular type of exegetical response not a reflective exegesis. This is not an analysis of my practice – the history or technique – rather this is an analysis of the context that informs that practice. Yet this text does include a discussion of several of my key works in relation to specific issues unpacked by the broader thesis and also in relation to the work by other media artists who explore similar territory.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
Full Text

In the abundant literature on the afterlife of classical forms in the Middle Ages, medieval “classicism” has generally been understood as a series of stylistic borrowings and iconographic quotations, occurring as either isolated instances of individual genius or as the result of a momentary cultural flourishing—a “renascence” to use Erwin Panofsky’s term. This dissertation reconfigures this discourse on antiquity and the Middle Ages. It frames medieval classicism as a set of expressive possibilities that encode and transmit culturally contingent meaning, arguing that classical models were invoked selectively by artists, in concert with a range of other representational modes, in order to communicate complex messages to an audience sensitive to differences in style. Presented as a series of case studies, it examines three sculptural representations of Adam and the Creation narrative from the Romanesque and Gothic periods in Italy and France, considering them as key sites for medieval engagement with the art of antiquity. The evocation of antiquity, effected through material and formal assimilations of sculpted objects to ancient artifacts, functioned as a rhetorical device in Romanesque and Gothic sculpture, constructing frameworks of meaning around a given object. This dissertation examines the particular character and purpose of such evocations in images of Adam from the cathedral churches of Modena, Paris and Auxerre, offering new interpretations of three important monuments in the history of medieval sculpture, engaging with landmark studies in medieval classicism, and reconsidering attitudes towards the public display of nudity in the centuries preceding the Renaissance, the period when, it is generally accepted, it became a part of common artistic parlance.
History of Art and Architecture

If I am anything, I am a Kentuckian, which means I appreciate a good storyteller. In my writing, I hope to bring back some dignity to the “lost cause” of the good values from a broken culture. While I am not quite “southern” enough to qualify as a writer of Southern Gothic fiction, I can relate to this brand of identity crisis in which someone wants to maintain an archaic mindset in a culture charging towards “progress.” As technology and corporate success take precedence over a genteel and pastoral soul, our collective competitiveness has crippled a quaint future of back porch comforts. Being well-read or holding open doors won’t pay for student loans, and there is no such thing as stars in our crowns anymore. For many regions of Kentucky, there is this conflict within the graying of small town communities. My region is one of these. As time marches on, the agrarian lifestyle itself becomes industrialized, and these old family farms, upon which small towns are built, are not self-sustaining. In my stories, I capture the perspectives of a rural community’s personalities. My Regionalism may be dated, but then so are the small town values. With these short stories, I hope to create a collection of characters whose backgrounds may be singular but whose messages are universal. My stories are about the universal fear of loneliness. Perry and White, the cameo characters, pop up throughout because they epitomize this with their irrational companionship. “The Ancient Art of Smile-Making,” “A Well Meaning Marionette,” “The Peacock Cloister,” and “In the Garden, Swallowing Pearls” are essentially about this innate need for company. “Murdered in a Good Dress” and “Myrtle Slog” illustrate the homesickness experienced by those who divorce themselves from closeness of the rural community. Sometimes we call “friendship” kitschy and cliché. And why is that? I made Perry and White’s bond a bit absurd because it is almost ridiculous that there could be a person in the wild world who would sacrifice themselves.

La tesi doctoral que aquí es presenta respon a l’objectiu d’estudiar una de les múltiples conseqüències artístiques de la devoció medieval a l’eucaristia en els bisbats catalans: el mobiliari d’altar del Corpus Christi. Més en concret, la seva principal pretensió és la d’analitzar els programes iconogràfics que van ser-hi representats, fonamentalment a partir de les obres conservades dels segles xiv i xv, però també dels testimonis documentals coneguts. Amb la intenció de comprendre les circumstàncies que van originar l’aparició d’aquestes obres i d’aprofundir en el coneixement de la seva iconografia, una primera part del treball es dedica al culte emergent a l’eucaristia que, a la baixa edat mitjana, adquireix una centralitat indiscutible amb la institució de la solemnitat del Corpus Christi. Partint del marc teològic, de la teorització de la doctrina de la presència real de Crist en les espècies consagrades, que és el veritable motor de la devoció, s’hi analitzen les principals expressions pietoses que van derivar-se’n arreu i, a continuació, es planteja una visió global del fenomen a la Catalunya de l’època, ara per ara per publicar. Un cop bastit el teló religiós de fons, la segona part de la tesi, que és la principal, s’endinsa pròpiament en l’estudi del mobiliari d’altar del cos de Crist. Abans d’entrar-hi pròpiament, però, a manera de proemi i per tal de contextualitzar el fenomen, s’escomet una breu panoràmica per algunes de les principals repercussions del culte en el terreny artístic, entre les quals l’aparició de les capelles del cos de Crist, que són el marc litúrgic natural dels exemplars a estudiar, encara que no l’únic. Cal dir, d’entrada, que els exemplars conservats al territori amb aquesta dedicació, majoritàriament retaules pictòrics, són escassos en contrast amb la potència del culte i, malauradament, la documentació tampoc no és gaire generosa sobre les obres perdudes. Tanmateix, per sort n’ha perviscut un conjunt prou divers i significatiu que permet establir els principals vectors temàtics que, més enllà de les particularitats, degueren configurar-ne habitualment els programes iconogràfics. A cadascun d’ells, tant els que comptaven amb una llarga tradició com els originats a partir de l’efervescència de la devoció, es dediquen els darrers capítols de la tesi, els quals segueixen les reflexions pertinents sobre les obres i la seva iconografia, fonamentalment adreçada a posar en relleu la presència real de Crist en el pa i el vi consagrats. En primer lloc s’analitza la presència destacada que hi ostentà el tema iconogràfic del Sant Sopar, com a representació principal de la institució del sagrament de l’eucaristia. En segon lloc s’aborda el pes que van tenir, dins del marc referit, les imatges cristològiques, tot posant especial èmfasi en els dos cicles que semblen haver jugat un paper de primer ordre, a saber, el de la infantesa de Crist i el de la passió. En tercer lloc es pondera la presència recurrent de les escenes de la litúrgica eucarística, principalment de l’Elevació de l’hòstia consagrada i la Processó del Corpus Christi, les quals vinculen indefectiblement la iconografia de les obres estudiades amb els manuscrits il·luminats. Finalment, el darrer capítol passa revista a les nombroses figuracions de miracles eucarístics que hi concorren i que posen de manifest varietat de fonts conegudes a la Catalunya del període. I això sense menystenir, és clar, aquelles expressions que tenen l’origen en un culte d’origen local, de les quals, dissortadament, n’ha pervingut la mínima expressió. El cos del treball s’acompanya, a la fi, amb un catàleg que aplega les nou obres (i vuit conjunts) que es prenen en consideració i amb un ajustat aplec de documents d’índole diversa que pretén sustentar una visió de conjunt del culte eucarístic a Catalunya i les seves repercussions plàstiques. Tot plegat va annexat amb la bibliografia final de rigor, la qual pot ser una bona eina per a futures investigacions sobre la matèria.
The objective of the thesis presented here is to study one of the many artistic consequences of medieval devotion to the Eucharist in Catalan bishoprics: Corpus Christi altarpieces. More specifically, the main aim is to analyse the iconographic cycles represented on those fourteenth and fifteenth century altarpieces –some of them preserved and some others known thanks to documentary evidence. With the intention of understanding the circumstances that gave rise to the appearance of these works and deepen the knowledge of their iconography, the first part of the thesis focusses on the emerging cult to the Eucharist, which, in the late middle ages, acquired an indisputable centrality with the institution of the solemnity of Corpus Christi. Based on the theoretical doctrine of the real presence of Christ in the consecrated species, which is the real agent of devotion, we analyse the main pious expressions that were derived from this devotion. Next, we give an overview of the phenomenon in the Catalonia of that time, yet to be published.   Once the religious background is established, the second part of the thesis, which is the main part, studies the Corpus Christi altarpieces. In order to contextualize the phenomenon, we make a brief overview of some of the main implications of the cult in the artistic field, including the appearance of chapels devoted to the body of Christ, which are the natural liturgical framework of the works to be studied, although not the only one. It is important to point out that, initially, the works with the above mentioned dedication preserved in the area, mainly pictorial altarpieces, are rare in contrast with the power of the cult and, unfortunately, there is not much preserved documentation on the lost works. Notwithstanding, a diverse and significant set of altarpieces has survived that allows us to establish the main thematic vectors, beyond the particularities, that must have normally made up the iconographic programmes. We dedicate the last chapters of the thesis to these, both those that have a long tradition and those arising from the effervescence of devotion, which are pertinent reflections on the work and its iconography, primarily aimed at highlighting the real presence of Christ in the consecrated bread and wine. Firstly, we analyse the outstanding presence of the iconographic theme of the Last Supper, as the central image of the institution of the sacrament of the Eucharist. Secondly, we look at the weight the Christian figures had within the framework referred to, with special emphasis on the two cycles that seem to have played a leading role, namely, the childhood of Christ and the Passion. Thirdly, we reflect on the recurring presence of the scenes of the Eucharistic liturgy, primarily the Elevation of the consecrated host and the Procession of Corpus Christi, which unfailingly link the iconography of the works studied with illuminated manuscripts. Finally, the last chapter re-examines the numerous figurations of Eucharistic miracles that concur and evidence a variety of known sources in Catalonia in that period. And this without neglecting, of course, those expressions that have their origin in a local cult, which, unfortunately, have largely perished. The thesis also includes a catalogue with the entries of the nine altarpieces and a set of various kinds of documents that aim to give an overall vision of the Eucharistic worship in Catalonia and its artistic repercussions. The bibliography, which might be used as an effective tool for further research on this field, closes this thesis.

Collegiate Gothic architecture can be found on many American campuses, yet its beginnings in nineteenth-century United States are something of a mystery. As the nation’s colleges and universities grew more innovative in their modernized curricula and research, strangely, their architecture became more anachronistic with Collegiate Gothic being the most popular. Around the greens of their campuses, Americans built quadrangles of crenellated buildings and monumental gate towers with stained-glass windows, gargoyles, pointed arches, turrets, and spires, thus transforming their collegiate grounds into likenesses of the Universities of Oxford and Cambridge. Why medievalizing buildings came to represent the archetypal college experience has confounded many educators, scientists, and industrialists, who wondered why some of America’s most revolutionary institutions built libraries and academic halls in a style that seemed to oppose everything that was modern. Scholarship has not fully addressed the reasons why Collegiate Gothic buildings came to occupy so many American college campuses. Authors have not regarded the style in its own right, having its own history within the nineteenth-century’s dynamic developments in higher education, religion, politics, urban planning, and architecture. My dissertation evaluates these relationships by addressing the Collegiate Gothic’s first one hundred years on American campuses from 1806 to 1906.

This dissertation examines the decorative program in the Oratory of San Giovanni Battista in Urbino, the meeting place of a homonymous flagellant confraternity founded in 1350. The Urbino oratory, built in the late fourteenth century, is an early instance of an independent confraternal meeting house, and one of an even smaller number that has survived with large portions of its pictorial decoration intact. This cycle was completed between 1390 and 1440 in a series of interventions by different artists, including celebrated Marchigian painters Lorenzo and Jacopo Salimbeni. Scholarship to date has been preoccupied with questions of dating, style and attribution, and has focused on the contribution of the Salimbeni in isolation. This thesis offers an alternative reading which considers the pictorial decoration as a whole and analyses the program in terms of the interests and needs of the commissioning confraternity. The confraternity’s unpublished fifteenth-century statutes are identified as a key source in reconstructing confraternal ritual and devotional practices, used to elucidate the ways in which the fresco program is aligned with members’ sense of corporate identity and penitential practice. Finally, the thesis argues for the need to recognise confraternity-specific viewing modes as a fundamental aspect of program’s design and reception. Examination of similar decorative programs elsewhere confirms that this is not unique to Urbino, and suggests the importance of recognising site-contingent viewing practices.

This thesis deals with the development of and the interaction between the ideals of classical universalism and the ideas of Gothic particularism. Part One traces the birth and the development of classical universalism; Part Two, medieval particularism. Part Three deals with the renaissance of the classical formulas, the adversary position the Renaissance held against medievalism and its consequences for the succeeding centuries. Part Four deals with the ideas of particularism making a come-back, leading to the formation of the Gothic Revival Movement. The Gothic Revival Movement and its adversary position against classical universalism is treated in Part Five. Part Six looks at the ninteenth century Revivalism and the birth of the new industrial era.

I created the term Neo-Raconteur to convey my interest in medium theory to support the artistic custom of revealing cultural conventions for allocation into artistic genres. The term evolved from the French word "Raconteur," meaning: somebody who tells stories or anecdotes in an interesting or entertaining way. In the past a Raconteur's anecdotes were verbally volleyed, ever voluble, yet quip. Neo-Raconteurs may decide not to speak at all choosing their anecdotal expression to manifest itself through singular or multiple means, manners, or methods of design and technology as well as or involving more traditional techniques of extraction to convey the narrative. I demonstrate how it applies to my work in time-based-media within the realms of Southern Gothic symbolism -- which rely on the supernatural, physical geographic settings, instances of the grotesque and irony along with visual and/or psychological shadow(s) of foreboding caused by tradition or hidden truths, occasionally both.

This dissertation explores the significance of Norman Flamboyant architecture by considering its origins, its local meanings, and its place in the larger narratives of late medieval architectural history. This examination of Normandy's role in the development of the Flamboyant style includes a brief assessment of the historiography of the Late Gothic period, with emphasis on questions of regional and national identity. Since many elements of the Flamboyant style had been imported from the Decorated Style that developed in England, a country with which France was still at war when the Flamboyant began, the relationship between these traditions remains controversial even today. To address this controversy, this project examines the motivations of Norman patrons who employed these new forms in the context of the Hundred Years War, before going on to consider the later phases of the Flamboyant, adopted in Normandy after the expulsion of the English, and the demise of the style in the decades after 1500. By linking architectural form and social context, this work clarifies the history of Norman Gothic architecture and its cultural significance.

Reims Cathedral holds a great deal of significance for the history of Gothic architecture, as well as the larger history of France as the coronation church. Given the historic significance of Reims, it is not surprising that much scholarship has been dedicated to the building’s sculpture, glass, and architecture. Most studies dealing with the cathedral’s architecture are based on stylistic and archaeological analysis, augmented by the use of surviving documents related to the construction. Although much fruitful work has been done in this vein, important questions about the building’s chronology and design still remain unresolved. The extent to which the design of the cathedral was established at the start of its construction, for example, continues to be disputed. The most recent monograph on the cathedral, published by Alain Villes in 2009, suggests that dramatic revisions to the overall plan and elevation were introduced during the course of its construction, going beyond the alterations to the façade designs that many previous authors have noted, but his theses remain controversial. Subsequently, Robert Bork has produced geometric models of the cathedral, which suggest that its plan was more coherent and unified. Additionally, French archaeologist Walter Berry has conducted new excavations, which further reveal additional archaeological evidence not yet taken into account by other Reims scholars. My dissertation, “Measuring the Past: The Geometry of Reims Cathedral,” examines the architectural design from a geometric perspective, augmented by archaeological, stylistic, and historic evidence. The primary contribution that my dissertation makes to art history is the development of a new, modern plan of the cathedral. I developed this plan by taking thousands of measurements using handheld devices and laser mapping, which I then incorporated into a single data set. This work allowed Bork and me to further refine the underlying geometry that created the cathedral’s layout and proportions. This new plan indicates that a master plan devised by the first architect governed the whole church, with subsequent modifications affecting its articulation rather than its overall layout. In addition to explaining how this plan was originally conceived, my dissertation also examines the anomalies and mistakes made during construction, which at times forced minor deviations from the plan. Some of these building errors and the obvious attempts to correct them give clues to the order of construction, in addition to supporting the notion that the masons repeatedly returned to the uniform scheme. This allows me to reassess the scholarship written about the cathedral and the complex history of the building project, while resolving some of the disputes over the cathedral’s construction and design.

Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on 'mainstream' Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin's 'Reformed Gothic'. Neither have furniture historians been willing to explore the aesthetic's connection with the intellectual and sentimental position of 'the Gothic' in the period. This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.

This thesis explores the insider/outsider dynamic experienced by individuals as they enter diverse social situations. The shift from insider to outsider is evoked through an art installation of 18 sculptures drawing influence from "goth" subculture, as the viewer enters and interacts with the art space. The subjects of culture and identity are discussed as they pertain to insider/outsider status.

Thesis (MPhil)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: Contemporary South African artist William Kentridge’s experimentation with the visual strategies of European modernism and nineteenth-century optical devices, particularly the fragmented figure and shadow perception, has been well documented in contemporary cultural discourse. It is, however, something for which he is often criticized. In this dissertation I will demonstrate that Kentridge’s enduring interest in European modernism and the processes of human perception are in fact inextricably linked. I will further argue that the significance of this connection resides in that they are both critical visual strategies for exploring the fragmented nature of a postmodern postcolonial subjectivity in a South African contemporary cultural context. Kentridge’s concern with the subjective nature of the construction of knowledge, of the space between seeing and knowing, memory and reality, is a central motif in his art practice and is understood to be a personal attempt to reconcile his present with the past, South Africa’s colonial history with Western history and modernism with postmodernism. Shaped by theories of altermodernity, neomodern anthropology, and the relationship between the observer and ‘the gaze’ in contemporary discourse, my dissertation will thus also argue that Kentridge’s interrogation of the fragmented nature of human subjectivity could be regarded as being ethnographic and Gothic in nature. His multi-channel video installation, I am not me, the horse is not mine (2008), will provide the key visual text for my argument, for it is in this artwork that the inseparability of these concerns are best exemplified, particularly in his experimentation with fragmentation, the Russian avant-garde and shadows. I conclude this research with a discussion of my own creative work, which is a re-imagining and critical investigation of my maternal grandfather’s archive of late eighteenth-century family silhouette portraits. As such, I interrogate notions of subjectivity, human perception and an ‘altermodern’ anthropological quest through a personal lens, in the context of the broader concerns raised by Kentridge’s work.
AFRIKAANSE OPSOMMING: Die kontemporêre Suid-Afrikaanse kunstenaar William Kentridge se eksperimentering met die visuele strategieë van die Europese modernisme en negentiende-eeuse optiese toestelle, veral die gefragmenteerde figuur en skaduwee persepsie, is goed gedokumenteer in die hedendaagse kulturele debat. Dit is egter ook waarvoor hy dikwels gekritiseer word. In hierdie verhandeling sal ek aantoon dat Kentridge se volgehoue belangstelling in die Europese modernisme en die prossese van menslike waarneming onlosmaaklik aan mekaar verbind is. Ek sal verder aanvoer dat die betekenis van hierdie verband daarin geleë is dat albei krities belangrike visuele strategieë is waardeur die gefragmenteerde aard van 'n post-moderne, post-koloniale subjektiwiteit in ‘n Suid-Afrikaanse kontemporêre kulturele konteks verken kan word. Kentridge se besorgheid oor die subjektiewe aard van die konstruksie van kennis, van die ruimte tussen ‘om te sien’ en ‘om te weet’, herinneringe en die werklikheid, is ‘n sentrale motief in sy kuns. Dit word beskou as 'n persoonlike poging tot versoening tussen sy hede en die verlede, Suid-Afrika se koloniale geskiedenis en die Westerse geskiedenis, en modernisme en post-modernisme. My verhandeling is gebaseer op die teorieë van alter-moderniteit, neo-moderne-antropologie, en die verhouding tussen die waarnemer en ‘die staar na’ in kontemporêre debat. Ek neem dus ook standpunt in dat Kentridge se ontleding van die gefragmenteerde aard van die menslike subjektiwiteit beskou kan word as etnografies en Goties van aard. Sy multi-kanaal video-installasie, I am not me, the horse is not mine (2008), sal die sleutel visuele teks in my beredenering wees, aangesien dit is in hierdie kunswerk is dat die onlosmaaklikheid van hierdie verskynsels die beste beliggaam word, en veral ook in sy eksperimentering met fragmentering, die Russiese avant-garde en skaduwees. Ek sluit die navorsing af met ‘n bespreking van my eie kreatiewe werk, wat ‘n herinterpretasie en kritiese ondersoek van my grootvader aan moederskant se argief van die laat agtiende-eeu se familie silhoeët portrette. As sodanig, sal ek, in die konteks van die breë knelpunte wat in Kentridge se werk voorkom, die begrippe van subjektiwiteit, menslike waarneming en ‘n ‘alter-moderne’ antropologiese strewe deur ‘n persoonlike lens ontleed.

A study of Gothic influences and eidetic imagery evident in eight Blake color plates to demonstrate that, when interpreted together with key Blake poems, unity of body and soul can be accomplished by means of the visionary imagination.

Aquest treball, pretén presentar un estudi monogràfic i de síntesi sobre l’art gòtic al Maresme. El primer objectiu proposat era presentar una anàlisi intentant superar les monografies locals d’edificis més o menys estudiats i intentar aconseguir una visió general inèdita més àmplia de l’estil a la comarca, evidenciant els seus ritmes constructius i els seus elements definidors. Això comportava també una revisió de les monografies ja publicades per tal d’actualitzar les noves recerques i replantejar algunes coses acceptades des de fa anys i que potser calia qüestionar. Un segon objectiu, vindria marcat per l’intent d’analitzar els diferents estils en una zona perifèrica del comtat de Barcelona medieval. La historiografia d’abast nacional inclou en els seus repertoris les grans obres monumentals i, en la majoria de casos, no hi ha un especial atenció als edificis de segon i tercer ordre, com a obres de caràcter més popular. Es tractava doncs de comparar les obres de la comarca i analitzar quin grau hi ha de seguiment dels models i repertoris generals de l’estil i si les característiques, cronologies i estilemes, que defineixen les grans etapes de l’art gòtic català es poden aplicar a aquesta comarca, i quina relació s’estableix entre aquestes obres i les primeres. A principis del el s. XIV, la majoria d’edificis i termes jurisdiccionals del baix Maresme ja estan plenament establerts. En contra del que passa en altres indrets, la introducció de l’art gòtic a Maresme no presenta inicialment un període de grans inversions i de grans projectes sinó que hi domina el manteniment de les estructures heretades del període de l’art romànic i les noves actuacions tindran un caràcter més aviat puntual. La introducció del nou estil en el Maresme el podem situar a mitjans del s.XIV gràcies a l’aparició d’uns nous promotors que formaran part dels grups influents de la burgesia comercial i burocràtica barcelonina. Alguns dels membres d’aquest grup esdevindran els propietaris de la majoria de senyories de la comarca i en el procés esdevindran els comitents d’una gran part de les obres d’art al Maresme. En aquest període es comença a palpar la incipient influència en l’àmbit artístic d’un grup de nous promotors que s’aniran imposant a mida que avanci la centúria del 1400. Seran les elits locals de les noves viles independents, constituïdes en “Universitats del terme” les que agafaran el relleu en la promoció artística tant religiosa com civil. Dins aquest període, també s’analitzen una sèrie d’edificis singulars vinculats a les ordes monàstiques (el priorat de Sant Pere de Clarà (Argentona), el convent - hospital de Caldes d’Estrac i la cartoixa de Montealegre a Tiana) a més de la renovació del mobiliari litúrgic (retaules, escultures, orfebreria....) Ja en el s.XVI, les elits locals com a nous promotors, utilitzaran els recursos del Comú de les viles i esdevindran els veritables renovadors de l’obra pública, tant laica com religiosa, promovent una gran activitat de renovació dels edificis, principalment els parroquials, els quals seran erigits de nova planta mantenint encara viu el llenguatge gotitzant que de forma epigonal arribarà fins a finals del s.XVI i principis del s.XVII. Al final del treball s’analitzen els diferents artífexs i les formes de treball per abordar la idea del colonialisme artístic dels tallers barcelonins a la zona del Maresme.
JOAQUIM GRAUPERA GRAUPERA: Gothic art in Baix Maresme (XIIth to XVIth century). Art and artistic promotion in a peripheral area of the Barcelona County. Mataró, 2011. This research offers a monographic study on Gothic art in Maresme area. The first aim is to transcend the local monographs with a more comprehensive view, which implied the review of the already published monographs in order to update their research and question it if necessary. The second aim is to analyze the styles in a peripheral area of Barcelona medieval county comparing the works of this area and analyzing to which extent followed the characteristics, chronology and style, which define the main phases of the Catalan Gothic art. The introduction of the new style in the Maresme area takes place at the second half of the XIVth century, thanks to the emergence of a new group of promoters that are part of the influential groups of the Barcelona trading and bureaucratic bourgeoisie. Some members of this group will become the owners of most of the lordships and the clients for many of the works of art in Maresme. In this period it starts to be felt the influence in art of a group of new promoters that will impose themselves as we enter into the 1400’s: the local elites of the new independent villages that will take the relay in the artistic promotion, both in the religious and in the civil art and some buildings linked to monastic orders are analyzed as well as the renewal of the liturgical furniture. Already in the XVIth century, the local elites will become the real renovators of both religious and secular public work, promoting the renewal of the buildings, specially the parish churches, which will be built still keeping alive the gothic language which will reach the end of the XVIth and the beginning of the XVIIth centuries. At the end of this research, different craftsmen and their way of working are also analysed in order to approach the idea of an artistic colonialism of the Barcelona workshops in the area of Maresme.

L’église Saint-Michel de Bordeaux est construite à la fin du Moyen Âge au centre d’une paroisse urbaine très dynamique. L’activité portuaire et commerciale fait vivre de nombreux artisans et enrichit les puissants marchands du quartier de la Rousselle. Ils sont investis dans le gouvernement de la commune et financent copieusement le chantier de leur église paroissiale. Leurs pratiques pieuses et leur activité à la tête de l’administration de la fabrique et des confréries sont représentatives de la religion civique à la fin du Moyen Âge. L’église accueille depuis la fin du XVe siècle un collège de prêtres-bénéficiers, au service des nombreuses fondations pieuses et des confréries installées dans les chapelles latérales. Elles sont construites durant le second chantier gothique, qui met en œuvre à partir du second quart du XVe siècle une vaste église flamboyante de plan basilical. Celle-ci succède à une première église gothique menée à son terme durant le XIVe siècle selon un parti-pris architectural de type « halle ». Le chantier de la cathédrale, qui introduit à Bordeaux les formes du gothique rayonnant du Nord de la France, est une source d’inspiration à Saint-Michel, dans le domaine de la modénature et de la sculpture monumentale. Le chantier flamboyant voit l’arrivée de maîtres-maçons dont l’œuvre a pu être identifiée. Elle se réfère aux chantiers normands, parisiens ou financés par le roi de France. Les Lebas de Saintes apportent leur culture artistique et leur technique à l’accomplissement du transept, à la conception de la nef et du clocher isolé. La faible influence de l’œuvre de Saint-Michel sur la création artistique locale est compensée par le rayonnement de son clocher-tour, un des plus hauts clochers du royaume. Son chantier exceptionnel est très bien renseigné par 11 années de comptes de la fabrique. Ils illustrent les conditions de travail et l’équipement nécessaire à la construction à grande hauteur. Un des autres chefs-d’œuvre de l’église, le portail nord, est probablement réalisé vers 1520 par Imbert Boachon, maître-maçon, imagier, menuisier, selon la nature des travaux et selon les villes ou il travaille. Aujourd’hui, la silhouette de l’église et du clocher, tous deux isolés au milieu de plusieurs places, ne reflète plus totalement la morphologie de l’œuvre médiévale. Des faiblesses structurelles obligent les hommes du XIXe siècle à reconstruire le chevet. Le clocher est rénové par Paul Abadie et l’église reçoit une esthétique gothique influencée par l’archéologie monumentale et les doctrines de la restauration patrimoniale de l’époque
The church of St Michael of Bordeaux has been built in the late Middle Ages, in a very dynamic urban parish. The fluvial and commercial activities of the port generate work for craftsmen and enrich the powerful merchants from the borough of La Rousselle. These merchants are invested in the communal government and finance the building of their parish church. Their pious practices and their activity at the head of the parish fabric and friaries are good examples of the late medieval civic religion. From the end of the fifteenth century, the church receives a college of priest provided by religious benefits. They are in the service of many pious foundations and friaries which are established in the lateral chapels. These chapels are built during the second gothic construction, which makes a big Flamboyant style church with the plan of a basilica. This building follows a first gothic church, conducted at its term during the fourteenth century in accordance to a “halle” architectural volume. The construction of the cathedral of Bordeaux, which introduces the gothic style from the north of France, is an inspiration for St Michael, in the domain of modenature and monumental sculpture. The Flamboyant construction induces the arrival of some master mason, whose work can be identified. That work is influenced by Norman, Parisian and French king’s financed buildings. The Lebas from Saintes give their artistic culture and their technique to the accomplishment of the transept, to the conception of the nave and the isolated bell tower. The low influence of the work of St Michael of Bordeaux on the local artistic creation is balanced with the bell tower, one of the tallest in the French kingdom. Its constructions are well informed thanks to an eleven years’ register for the fabric accounting. It illustrates the work conditions and the necessary equipment for high tall building. One of the masterworks of the church, the north portal, is probably made around 1520 by Imbert Boachon, master mason, sculptor or joiner according to the kind of the work or the town where he works. Nowadays, the silhouette of the church and the bell tower are isolated in the middle of many places and are not totally representative of the medieval made morphology. Some structural frailties oblige the nineteenth century men to rebuild the chevet. The bell tower is renovated by Paul Abadie and the church receives a gothic aesthetic which is influenced by monumental archaeology and the patrimonial restorations doctrines of that period

The St. Johns Bridge is a 1,207 foot span suspension bridge crossing the Willamette River in Portland, Oregon, connecting the Portland communities of St. Johns and Linnton on the eastern and western banks, respectively. Commissioned in 1928, the bridge was completed in 1931, with much fanfare in the local community. The two neighborhoods are some distance from downtown Portland, and the bridge brought prestige to an otherwise nondescript locale. It was designed by the New York-based firm of Steinman & Robinson. David Barnard Steinman (1886-1960) acted as the public face for the firm, however, and the design of the bridge has traditionally been ascribed to him in the literature. Steinman was one of the most prominent bridge engineers of the twentieth century, and is recognized today, as he was even within his lifetime, as such. It was a position which he worked fervently to attain. Steinman wrote extensively concerning the St. Johns Bridge and spoke of it as his own; his extensive use of the St. Johns Bridge as an example of aesthetics in bridge engineering is related to the early twentieth-century debate between engineers and architects regarding the role of each in bridge design. As an engineer who sought, without the aid of the architect, to build bridges which were objects of beauty, he asserted the role of the engineer as artist. The predisposition toward the engineered machine aesthetic in the intellectual climate of the avant-garde in the early twentieth century enabled Steinman to style himself as such an artist--even though the St. Johns Bridge, which he frequently employed in this regard, was not a work of functionalist aesthetics. While the architectural avant-garde was borrowing from the engineer for artistic rejuvenation, Steinman was in an advantageous position to argue for the engineer-artist, thereby casting the engineer as an individual sui generis, equal to and without need of the architect.

Les chanoines de la cathédrale de Metz forment un milieu complexe, aux origines diverses, mais dont le statut social est solidement appuyé sur une fortune foncière constituée dont la gestion est confiée au service de la Maisonnerie dès le XIIIe siècle. Les maisons canoniales issues de ce patrimoine accompagnent en conséquence les mutations à l'œuvre dans la cité à la jonction des époques romane et gothique. Elles se répartissent en quatre types: entre cour et jardin, en U sur la rue, en maison-tour, et autour d'un pôle central d'origine romane. Cependant, l'étude de ces résidences a montré que certains prédicats de l'historiographie locale devaient être revus et corrigés. En particulier, si la vieille idée selon laquelle l'architecture locale aurait calqué ses usages sur l'architecture italienne reste vraie pour certains aspects techniques, il est clair aujourd'hui qu'elle ne tient pas compte de témoins plus proches de la cité, dans des régions avec qui Metz avait certainement des contacts réguliers, comme la Bourgogne et la Rhénanie. De surcroît, le rôle social des chanoines doit être replacé dans le contexte d'une ville libre impériale, différente des villes françaises. On peut ajouter que le monde des chanoines semble empreint d'une culture très liée à celle des laïcs, qui s'ouvre aux nouveautés du monde aristocratique au Bas Moyen Age puis à la modernité de la Renaissance. Il est ainsi remarquable qu'une bonne portion des quelques exemples d'art de la Renaissance conservés relèvent de commandes des chanoines pour la cathédrale, en réaction aux contestations sociales auxquelles sont liées leurs résidences
The canons of the cathedral of Metz form a complex environment, with diverse origins, but whose social status is solidly supported by a property fortune whose management has been entrusted to the Maisonnerie department since the 13th century. The canonical houses from this heritage therefore accompany the mutations at work in the city at the junction of the Romanesque and Gothic eras. They are divided into four types: between courtyard and garden, in U on the street, in a tower house, and around a central pole of Romanesque origin. However, the study of these residences showed that some predicates of local historiography needed to be reviewed and corrected. ln particular, if the old idea that local architecture would have modeled its uses on Italian architecture remains true for certain technical aspects, it is clear today that it does not take into account witnesses closer to the city, in areas with which Metz certainly had regular contacts, such as Burgundy and the Rhineland. ln addition, the social role of the canons must be placed in the context of an imperial free city, different from French cities. It may be added that the world of canons seems to be imbued with a culture very much related to that of the laity, which opens up to the novelties of the aristocratic world in. the late Middle Ages and then to the modernity of the Renaissance. It is thus remarkable that a good portion of the few surviving examples of Renaissance art are under the orders of the canons for the cathedral, in response to the social disputes to which their residences are linked

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico
Nesta dissertaÃÃo, acompanho as trajetÃrias de jovens âafinadosâ com o gÃtico em seus circuitos de lazer na cidade de Fortaleza, a fim de observar como eles vivenciam uma experiÃncia com esse mundo artÃstico em diferentes espaÃos e eventos musicais. Trago para a pesquisa os seguintes questionamentos: como esses jovens produzem uma experiÃncia com o gÃtico a partir desses encontros? O que distingue ou caracteriza essa experiÃncia? O trabalho compreende uma descriÃÃo das trajetÃrias, eventos, performances, consumos e afetos que constituem e caracterizam esses encontros, ao mesmo tempo em que busca traÃar a multiplicidade de interaÃÃes e de fluxos que atravessam as subjetividades desses jovens. Na investigaÃÃo, utilizo o conceito de mundo artÃstico elaborado por Becker (2010) como estratÃgia metodolÃgica para pensar o universo gÃtico como uma rede de cooperaÃÃo entre indivÃduos em torno de trabalhos de arte, no caso, a arte gÃtica.
In this dissertation, I accompany young trajectories tune with the Gothic in their leisure circuit in Fortaleza city, in order to observe how they lived an experience with this art world in different spaces and musical events. I bring to research the following questions: how these young people produce an experience with gothic from these meetings? What distinguishes or characterizes this experience? The work includes a description of the trajectories, events, performances, consumptions and affections that constitute and characterize these meetings, while seeking to describe the multiplicity of interactions and flows through the subjectivities of these young people. During the investigation, I use the concept of art world prepared by Becker (2010) as a methodological strategy into think of the gothic universe as a network of cooperation between individuals around artworks in the case, the Gothic art.

This dissertation will consider how 'gothic' might be applied within contemporary art discourse beyond the motif-heavy assumptions which clutter its habitual usage today. I explore the term historically across its principal disciplines: firstly, art and architecture, from Renaissance to twentieth-century accounts of the Middle Ages alongside its stylistic revival during the Romantic era; and secondly, its now-predominant reference, the eponymous literature of terror emerging in the mid-eighteenth century, later strongly related to horror film, My first premise is that the term's original art-based significance - i.e., having to do with the lingering effects of unwanted inheritances - remains central to its meaning. Secondly, I observe that in attempting to define the essence of the genre, numerous literary theorists cite recurring aesthetic features, i.e., shadows and darkness; labyrinthine space; an emphasis on surface rather than depth; and claustrophobia, among others. These can be seen to establish a recognizable yet flexible aesthetic language - a gothic aesthetic - to speak of the present as a haunted time. This research will test and explore the relevance of a possible literary-based gothic aesthetic to art, particularly in relation to Andy Warhoi's Death and Disaster series (1962-65; '67), Louise Bourgeois's Cells (1986-2008), and a selection of artworks by Tacita Dean, all of which I identify as significant examples of gothic innovation in the visual arts. I also consider the gothic content of Warhol' s artistic persona, and explore whether an earlier art-historical meaning of the term, particularly regarding the fifteenth-century danse macabre, can be seen to continue in the Death and Disasters on radically revised terms. Conventionally assumed as opposites, Modernism and (modern) gothic can be said to have emerged contemporaneously during the Enlightenment. The gothic was a mode despised in the Modernist writings of Clement Greenberg and others; as I argue, some post-1960s artists can be seen to have adopted locations, figures, and forms associated with the gothic to assert counter- or after-Modernist art-making strategies, or to reflect upon Modernism's legacy today.

Cette thèse établit l'inventaire exhaustif des synagogues de Casablanca en service, celles qui sont fermées ou encore celles disparues et dont on n'a plus de traces, ainsi que celui des objets rituels qu'elles renferment. L'implantation de ces lieux de culte constitue également une source d'informations sur la communauté juive Casablancaise et sur la mobilité de sa population entre 1911 et 2013. Casablanca, musée à ciel ouvert, a été influencée par des courants artistiques importés par l'Occident, tels que le Bauhaus, le style Art Nouveau, l'Art déco, des éléments gothiques ... associés à l'influence locale, aux courants internes au Maroc et à l'architecture coloniale. Adoptés par les familles juives de Casablanca, ces courants architecturaux vont finalement être appliqués à l'archtecture des synagogues, à leur mobilier et aux objets de culte
This thesis is an exhaustive inventory of Casablanca synagogues (based on, closed or missing) and ritual objects they contain. The etablishment of these places of worship provide also information on the jewish community of this city as well as the mobility of its population between 1911 and 2013. Casablanca, open-air museum, was influenced by artistic currents imported by colonization, such as the bauhaus, Art nouveau style, Art Déco, gothics elements ... mixed with local influence and architecture imported from the other cities of Morocco, as well as colonial architecture. Those architectural movements will penetrate private houses including jewish families of Casablanca to finally get into the synagogues and influence their architecture, furniture and liturgical objects

La misteriosa storia di Gherardo di Jacopo Starnina ha affascinato la critica per quasi un secolo, tale maestro che alla fine del Trecento viaggiò in Spagna lavorando a Toledo e Valenza per poi tornare a Firenze dove ottenne fama e successo e il merito di una biografia del Vasari, gode di una ampia serie di studi che presentano ancora dei punti oscuri soprattutto riguardo al suo soggiorno spagnolo. La molteplicità di opere attribuitegli dopo la sua riunificazione con l'altro misterioso pittore detto il Maestro del Bambino Vispo hanno in parte chiarito il mistero che ruotava attorno a questo artista, ma non completamente. Il fatto inoltre che si tratti di un artista a contatto con due mondi completamente diversi ne fa un ponte tra universi artistici poco comunicanti tra loro. Il proposito di tale studio è quello di chiarire soprattutto il periodo spagnolo del pittore, nonostante la scarsezza di opere attinenti a questo momento. Per permettere una tale analisi si è dovuto ripercorrere tutta la storia critica di Gherardo di Jacopo. Si è passati poi ad analizzare i pittori fiorentini più rappresentativi della seconda metà del Trecento che possano aver influito sull'artista per poter meglio comprendere la solida base toscana che sottende alla pittura di Starnina, che vi innesta il suo personale aggiornamento sullo stile espressionistico e alla moda del gotico internazionale appreso a Valenza, creando quel miscuglio inspiegabile e nuovo che è il fulcro del suo stile. Si è provato ad arrivare a qualche nuova conclusione circa la sua attività a Toledo e Valenza. Infine si è ricordata la sua magnifica attività fiorentina di ritorno dalla Spagna, analizzando soprattutto alcune opere meno considerate dalla critica che mostrano una serie di caratteristiche estranee al mondo fiorentino. Al termine di una lunga indagine si è coscienti che una parte delle domande sul pittore resteranno senza risposta per mancanza di dati, ma si spera che l'aggiunta di alcune nuove conclusioni riguardanti soprattutto la sua possibile attività spagnola servano da punto fermo per ulteriori ricerche su un argomento tanto complesso, ricco di induzioni e povero di dati. Al di là dei lati oscuri, la maestria e la finezza di tale maestro sarà fondamentale per lo sviluppo di Lorenzo Monaco e degli altri maestri della breve stagione tardo-gotica fiorentina, prima di essere surclassata dal Rinascimento, al contempo il lungo viaggio di Gherardo di Jacopo in terra iberica darà origine a due fiammate artistiche italianeggianti sia a Toledo che presso alcuni maestri valenzani come Miguel Alcañiz. Questa è una storia di luci e ombre dove il dibattito critico ferverà a lungo, specialmente perché la mancanza di dati ha portato alla moltiplicazione delle ipotesi e tutt'ora lascia ampio margine alle intuizioni, ma nonostante le difficoltà di una tale ricerca, lo splendore delle opere del maestro e l'anomalia del suo percorso artistico lo rendono strategico per comprendere lo sviluppo sia di un aspetto del gotico internazionale valenzano che la repentina internazionalizzazione della pittura gotica fiorentina nella sua tappa finale.
My research intent is to shed light on the Spanish stay of Gherardo Stamina, a Florentine painter who settled in Valencia from 1395 to 1401, before returning to Florence after that date. His stay in the Iberian Peninsula is the more obscure side of his artistic activity. On that period, I tried to add new data to get a clearer view of his experience in Spain. At the same time, these new findings about his trip to Spain allowed revision of his catalog and pictorial activity. This painter, already indicated by Vasari as a Florentine artist who made his fortune abroad, become a classic example of how an artist moving between two countries could be a bridge between two very different schools of painting: the splendid season of the International Gothic of Valencia and the Florentine late Gothic painting. Precisely, the charm of Starnina lies on his capacity to connect two very different artistic worlds: this is a painter who influenced the international Gothic style in the city of Turia and the gothic developments in his native Florence.

La historiografia clàssica va considerar que, cap a mitjan segle XV, influències foranes, vehiculades principalment per Jaume Huguet i Bartolomé Bermejo, van capgirar el curs de la pintura aragonesa, que llavors vivia els darrers moments del gòtic internacional i començava a assumir alguns elements del nou realisme flamenc. Aquesta divisió de l’escola pictòrica aragonesa de la segona meitat del segle XV en dos grans corrents, un dels quals estretament vinculat al context català, ha estat avaluada i matisada per diversos historiadors al llarg dels darrers anys, i en aquesta línia s’inscriu també aquesta tesi. A la primera part es revisa la importància del darrer gòtic internacional aragonès en la formació dels pintors de la segona meitat del segle XV i la seva capacitat per assumir algunes propostes del nou realisme flamenc, principalment a través de la figura del Mestre de Riglos i la seva connexió amb un dels mestres etiquetats tradicionalment com a deixebles d’Huguet, Pere Garcia de Benavarri. D’altra banda, propostes recents recuperen per al catàleg d’un artista aragonès i el seu cercle un grup de pintures adscrites anteriorment a una hipotètica etapa juvenil de Jaume Huguet que hauria transcorregut a l’Aragó. A la segona part de la tesis es parteix d’aquest nou punt de vista per a revisar el catàleg d’alguns mestres actius a la segona meitat del segle XV, considerats tradicionalment huguetians. S’estudia la figura del Mestre de Sant Jordi i la princesa, Tomás Giner, Arnau de Castelnou, el Mestre de sant Bartomeu, el Grup de Morata i el Mestre de Cervera de la Cañada, entre d’altres.
The classic historiography considered that, about middle of the 15th century, foreign influences, principally introduced by Jaume Huguet and Bartolomé Bermejo, provoked a strong change in the Aragonese painting, which at the time was living the last moments of the International Gothic and began to assume some elements of the new Flemish realism. This division of the pictorial Aragonese school of the second half of the 15th century in two main tendencies, one of which narrowly linked to the Catalan context, has been re-evaluated by diverse historians throughout last years, and this thesis is inscribed also in this line. In the first part of the thesis I explore the importance of the last International Aragonese Gothic in the formation of some of the painters of the second half of the century, and the introduction of some ingredients of the new Flemish realism, principally across the figure of Master of Riglos, and his connection with one of the masters traditionally labelled as a disciple of Huguet, Pere García de Benavarri. On the other hand, in the last years, some historians have recovered for the catalogue of an Aragonese artist and his circle a group of paintings assigned previously to Jaume Huguet's hypothetical juvenile stage in Aragon. In the second part of this thesis I assume this new approach and I re-evaluate the catalogue of some masters who worked in the second half of the 15th century, traditionally considered under the influence of Huguet. I examine the figure of the anonymous Master of Saint Georges and the princess, Tomás Giner, Arnau de Castelnou, the Master of san Bartolomew, the Group of Morata and the Master of Cervera de la Cañada, between others.

The depiction of birds by artists such as Don Binney, Bill Hammond, Michael Parekowhai and Grant Whibley has served as metaphors in the conceptual systems of post-settler New Zealanders’ expression of identity. This project investigated unease in New Zealand post-settler identity and its dislocation from the past by considering works depicting native birds. Is depicting native - rather than introduced birds, an incongruous and romantic settler iconography in identity, leading to a re-telling of our place in this land at the expense of not only the rightful indigenous place of Maori, but of our own cultural becoming? By exploring the painting of birds as metaphors of New Zealand post-settler identity, the project aimed to contribute to the complex issues surrounding the entwined and entangled post-settler relationships of both the past and present. This painting project investigated these issues through the medium of oil paint, culminating in a body of artwork presented in an exhibition with an accompanying exegesis representing 20% of the work.

Trois cloîtres attribués aux couvents de "Trie-sur-Baïse", "Bonnefont-en-Comminges" (aux Cloisters, New York) et "Montréjeau" (Paradise Island, Bahamas) furent remontés outre-Atlantique au cours du XXe siècle. L'installation moderne de tels monuments en Amérique nous incitent à nous intéresser à ce goût, exprimé dés le début du XXe siècle, pour l’architecture médiévale. Selon les premières attributions, les pierres proviendraient d'abbayes des Pyrénées centrales, dont les vestiges furent dispersés au cours de l'Histoire. Les troubles des guerres de Religion, l’abandon progressif des établissements par les communautés religieuses, l’aliénation de leur temporel pendant la Révolution portèrent un coup sévère à l’intégrité des bâtiments monastiques ; mais, de la période post-révolutionnaire jusqu’au début du XXe siècle, ce sont bien les discrètes transactions entre particuliers et antiquaires, qui firent disparaître de la mémoire collective l’origine même des pierres, particulièrement celles des cloîtres en marbre, convoitées pour leur décor. Identifier leur provenance fut l'enjeu majeur de cette étude. Ces marbres sculptés présentent un programme iconographique riche et varié : les ensembles de "Bonnefont-en-Comminges" et de "Montréjeau" proposent un décor de feuillage stylisé tandis que celui de "Trie-sur-Baïse" expose des scènes figurées originales. Mener une analyse de ces sculptures a permis de les restituer dans leur contexte architectural originel
Three cloisters attributed to the monasteries of "Trie-sur-Baise", " Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas) were purchased by American collectors and rebuilt, during the XXth century, in North America. The modern assembly of such monuments generates interest on the taste of these American amateurs, from the beginning of XXth century, for medieval European architecture. While respectively attributed to the monasteries of "Trie-sur-Baise", "Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas), the initial attribution states that the stones were from central Pyrenees monasteries, whose ruins were scattered throughout ancient times : the Hundred-year war as well as the wars of religion, the gradual desertion of religious institutions by their communities during the XVIIth and XVIIIth centuries and, at last, the alienation of their properties during the Revolution seriously damaged the integrity of monastic buildings. However, during the post-revolutionary period until the early XXth century, many discrete transactions between individuals and antique dealers further took away the stones real origin from the collective memory, especially cloisters sculptures coveted for their ornament. Identifying the cloisters provenance was the main subject of this study. The three carved marbles present various iconography ; while the "Bonnefont-en-Comminges" and "Montréjeau" ensembles both show stylized foliage ornaments, the "Trie-sur-Baise" cloister depicts original figurative scenes. Carrying out an in-depth study of these sculptures made it possible to accurately associate the cloisters to their original architectural set and production context

The project aims to develop a corpus of the 14th century marble sculptures in Brescia, Mantua and Cremona. After mapping the materials localized in these territories, which was made possible thanks to the inventories of the respective Superintendencies and Dioceses, as well as the bibliography, it was possible to collect a large number of testimonies. The resulting archival investigation allowed to refine the research on the history of the pieces, to update and correct the data already reported in bibliography and to investigate unpublished works. From a methodological point of view it was considered appropriate to proceed with the stylistic analysis of the sculptures in parallel with the identification of contexts, origins, authors, models and influences. This made it possible to identify and deepen a critical chapter, the history of Gothic sculpture in this part of Lombardy, which until a few decades ago was rather neglected by studies. The development of a catalog, divided into territorial sections, aims to be an easy reference tool for scholars of Italian sculpture. Several unpublished works have emerged in Brescia and in its province. Some hypotheses have been advanced about the path of the sculptor Delaido da Lodi, active in 1301 in Gargnano, and about the artworks in and from Brescia realized by the Master of Sant’Anastasia. The Mantua area, which returned the most significant results, was analyzed from the beginning of the fourteenth century to the eve of the dalle Masegne season. During this period of time, various artists, mainly from Venice, were active in the city. Among them, the sculptor Andrea da San Felice, the anonymous artist baptized here with the name of "Maestro di Piero Maser" and Antonio da Mestre. Some of the sculptures collected can be related to Lombard artists such as the "Maestro di Viboldone", to whom a new sculpture is attributed, and Guido Frisoni, an artist mentioned in some documents preserved in the State Archive of Mantua, to whom it is now possible to trace the "Madonna with Child" in Grazie di Curtatone, thanks to the interpretation of the epigraph placed at the base. The Cremona area closes the catalogue, which stands out for the quality of the surviving works, at the expense of quantity. The famous reliefs preserved in the church of San Bassiano in Pizzighettone are exemplary of the formal refinement of the survivals of this territory.
Il progetto si è posto l'obiettivo di elaborare un corpus delle sculture del XIV secolo in marmo conservate nelle province di Brescia, Mantova e Cremona. Grazie all’iniziale mappatura dei materiali nei singoli territori, realizzata passando in rassegna gli inventari delle rispettive Soprintendenze e Diocesi, oltre alla bibliografia, è stato possibile raccogliere un cospicuo numero di testimonianze. La conseguente indagine archivistica ha consentito di perfezionare le ricerche sulla storia conservativa dei singoli pezzi, di aggiornare e correggere i dati già segnalati in bibliografia e di indagare sugli inediti. A ciò si è aggiunta l’analisi stilistica delle sculture, che è avvenuta parallelamente all’individuazione di contesti, provenienze, autori, modelli ed influenze. Ciò ha permesso di individuare e fare il punto su un capitolo critico, la storia della scultura gotica in questi territori della Lombardia, che fino a pochi decenni fa era poco frequentato dagli studi. Numerosi sono, inoltre, gli spunti di ricerca emersi per il futuro. Per questo motivo è stato elaborato un catalogo, che ha l’obiettivo di essere uno strumento di agile consultazione per gli studiosi di scultura italiana. Sono emerse diverse opere inedite nel bresciano, su cui si è cercato di far luce. Alcune ipotesi sono state avanzate circa il percorso dello scultore Delaido da Lodi, attivo nel 1301 a Gargnano, e riguardo alle testimonianze bresciane del Maestro di Sant’Anastasia. Il territorio mantovano, che ha restituito i risultati più significativi, è stato analizzato dagli esordi del Trecento fino alla vigilia della stagione dei dalle Masegne. Durante questo lasso di tempo furono attivi in città diversi artisti, principalmente provenienti da Venezia, su cui ora è possibile ragionare. Tra essi emergono lo scultore Andrea da San Felice, l'anonimo artista battezzato in questa sede con il nome di "Maestro di Piero Maser" e Antonio da Mestre. Di origine lombarda furono invece il Maestro delle sculture di Viboldone, a cui in questa sede è attribuita una nuova opera, e Guido Frisoni da Como, artista citato in alcuni documenti conservati a Mantova, in Archivio di Stato, a cui è ora possibile ricondurre la 'Madonna con Bambino' di Grazie di Curtatone grazie all'interpretazione dell'epigrafe posta alla base dell'opera. Chiude il lavoro il territorio di Cremona, che si distingue per la qualità delle opere superstiti, a discapito della quantità. Esemplificativi della ricercatezza formale delle sopravvivenze di questo territorio sono i celebri rilievi che si conservano nella chiesa di San Bassiano a Pizzighettone.

Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.

This thesis details the literary and visual influences in my work, the definition of American Gothic, and its connection it to my work. Literary sources such as Edgar Allan Poe and Fanny Kemble help spark a vision of the landscape. Visual influences include Japanese woodblock prints, scenic wallpapers, vintage postcards and Victorian mourning pictures. My regional explorations span the James River, Tidewater swamps and architecture within the city of Richmond.My work depicts local history and ecology inspired by Richmond and the surrounding region. Subtle Gothic elements add anxiety to the otherwise pastoral scenes. Gothic foreboding in the work questions our ecological future and the permanence of our human presence in the landscape.

A les primeres dècades de la catorzena centúria la vestimenta catalana (i en general, la d’Occident) és sacsejada per novedoses formes que canvien la silueta dels seus portadors tant masculins com femenins. Al mateix temps, aquestes vestidures s’adornaren amb un creixent i refinat luxe que transpassà els reduïts límits dels cercles cortesans i aristocràtics per abastar a grups socials com la burgesia enriquits pel comerç o els negocis i que es podien permetre destinar un elevat dispendi per al seu guarda-roba. El centre cronològic de més interès pel que fa a l’evolució vestimentària de Catalunya arrenca als anys 40 i acaba a finals dels 80, amb una dècada entremig, 1340-1350, que es rebel•la fonamental per a la generalització d’importants canvis en la indumentària. Tot i així, els límits cronològics han estat a vegades ampliats als segles XIII o XV quan així ho ha requerit l’estudi dels antecedents o de l’evolució tipològica d’una determinada peça de vestir. El treball s’ha basat en l’estudi dels principals vestits externs, de les vestidures anomenades a l’època subiranes. La més estesa és la cota de la qual les imatges artístiques ens han permès identificar diverses variants tipològiques que hem denominat cota A, cota B, cota C, cota talar i cota ardia. Al costat de les cotes s’han considerat altres vestits externs com l’aljuba, el pellot, el curtapeu i el gipó. Tanmateix, l’estudi abasta també els vestits interiors que acompanyaven als exteriors com la gonella, la gonella encordada i la samarra així com el mantell i la gramalla que eren considerats peces d’abrigall. L’establiment de tipologies de diferents peces de vestir i la seva evolució cap a noves formes s’ha basat en l’anàlisi de fonts documentals, literàries, iconogràfiques i arqueològiques. Un apartat preferent d’aquest treball és el constituït per l’anàlisi de les lleis sumptuàries. En el decurs del segle XIV les autoritats dictaren a diverses ciutats i poblacions del territori europeu diverses ordinacions destinades a limitar el creixent luxe vestimentari i les supèrflues despeses que aquest comportava. Les lleis sumptuàries catalanes que han estat examinades en aquest estudi són les de Barcelona, Cervera, Mallorca i Berga. En definitiva, la indumentària esdevení un autèntic codi que no havia de ser transgredit ja que establia i feia reconeixibles jerarquies i funcions. Tanmateix, a mesura que va evolucionant el segle XIV, el llenguatge de la vestimenta coneix insistents intervencions del poder, tant del civil com del religiós, per a regular-lo i, en definitiva, “domesticar-lo”.
In the first decades of the fourteenth century the Catalan outfit (and in general the West) is shaken with innovative ways that change the shape of its wearers, both male and female. At the same time these garments were adorned with a growing and refined luxury which went over the narrow limits of the court and aristocratic circles to encompass social groups such as the bourgeoisie enriched by trade or business who could afford to spend a large expense in their wardrobe. The chronological center of most interest regarding the evolution of Catalonia dress starts in the 40s and finishes in late 80s, with a decade in between, from 1340 to 1350, which reveals fundamental to the spread of important changes in clothing. However, the chronological limits have been sometimes extended to the thirteenth or fifteenth when so has required the study of history or the typological evolution of a particular garment. The work is based on the study of the major suits outside the garment, called at the time “subiranes”. The most widespread is the “cota”, of which its artistic images have permitted the identification of several typological variants which we have called cota A, cota B, cota C and cota ardia. Beside the cota other external dresses have also been considered such as l'aljuba, el pellot, el curtapeu i el gipó. However, the study also covers internal suits accompanying the outer skirt, such as la gonella, la gonella encordada i la samarra as well as el mantell i la gramalla which were considered coat pieces. The establishment of various types of garments and their evolution into new forms is based on the analysis of documentary sources, literary, archaeological and iconographic. A preferred section of this paper is constituted by the analysis of the sumptuary laws. During the fourteenth century the authorities dictated in several cities and towns throughout Europe several ordinances designed to limit the growing luxury in dressing and the wasteful expending this entailed. Catalan sumptuary laws that have been examined in this study are in Barcelona, Cervera, Majorca and Berga. In short, the clothes became a real code which should not be violated since it established and made recognizable hierarchies and functions. However, while the fourteenth century evolves, the language of dress knows persistent interventions.

Trois cloîtres attribués aux couvents de "Trie-sur-Baïse", "Bonnefont-en-Comminges" (aux Cloisters, New York) et "Montréjeau" (Paradise Island, Bahamas) furent remontés outre-Atlantique au cours du XXe siècle. L'installation moderne de tels monuments en Amérique nous incitent à nous intéresser à ce goût, exprimé dés le début du XXe siècle, pour l’architecture médiévale. Selon les premières attributions, les pierres proviendraient d'abbayes des Pyrénées centrales, dont les vestiges furent dispersés au cours de l'Histoire. Les troubles des guerres de Religion, l’abandon progressif des établissements par les communautés religieuses, l’aliénation de leur temporel pendant la Révolution portèrent un coup sévère à l’intégrité des bâtiments monastiques ; mais, de la période post-révolutionnaire jusqu’au début du XXe siècle, ce sont bien les discrètes transactions entre particuliers et antiquaires, qui firent disparaître de la mémoire collective l’origine même des pierres, particulièrement celles des cloîtres en marbre, convoitées pour leur décor. Identifier leur provenance fut l'enjeu majeur de cette étude. Ces marbres sculptés présentent un programme iconographique riche et varié : les ensembles de "Bonnefont-en-Comminges" et de "Montréjeau" proposent un décor de feuillage stylisé tandis que celui de "Trie-sur-Baïse" expose des scènes figurées originales. Mener une analyse de ces sculptures a permis de les restituer dans leur contexte architectural originel
Three cloisters attributed to the monasteries of "Trie-sur-Baise", " Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas) were purchased by American collectors and rebuilt, during the XXth century, in North America. The modern assembly of such monuments generates interest on the taste of these American amateurs, from the beginning of XXth century, for medieval European architecture. While respectively attributed to the monasteries of "Trie-sur-Baise", "Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas), the initial attribution states that the stones were from central Pyrenees monasteries, whose ruins were scattered throughout ancient times : the Hundred-year war as well as the wars of religion, the gradual desertion of religious institutions by their communities during the XVIIth and XVIIIth centuries and, at last, the alienation of their properties during the Revolution seriously damaged the integrity of monastic buildings. However, during the post-revolutionary period until the early XXth century, many discrete transactions between individuals and antique dealers further took away the stones real origin from the collective memory, especially cloisters sculptures coveted for their ornament. Identifying the cloisters provenance was the main subject of this study. The three carved marbles present various iconography ; while the "Bonnefont-en-Comminges" and "Montréjeau" ensembles both show stylized foliage ornaments, the "Trie-sur-Baise" cloister depicts original figurative scenes. Carrying out an in-depth study of these sculptures made it possible to accurately associate the cloisters to their original architectural set and production context

Orientador: Luiz Cesar Marques Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-04T16:32:59Z (GMT). No. of bitstreams: 1 Rabelo_MarcosMonteiro_M.pdf: 1262563 bytes, checksum: d6310467e3a482305707f317a2a96433 (MD5) Previous issue date: 2005
Resumo: A igreja abacial de Saint-Denis, situada nos arredores de Paris, figura entre os grandes monumentos da Idade Média européia. As fontes medievais abundam em referências à sua proeminência, designando-a como a ¿mãe das igrejas francesas¿. Por muitos séculos, ela foi o núcleo da prestigiosa abadia real, estatuto que a isentava de qualquer dominação feudal ou eclesiástica, estando sujeita apenas ao rei. No que respeita à história da arte, pode-se dizer que o período mais significativo na trajetória da igreja abacial é o da reforma promovida pelo abade Suger, realizada entre 1137 e 1144. Suger promoveu uma reformulação completa na parte ocidental (nártex) e na cabeceira (o coro e a cripta), transformando completamente o antigo edifício, da época carolíngia (século VIII). O nártex foi ampliado e ganhou elementos novos, como a rosácea na fachada, três portais de entrada e as estátuas-coluna, hoje desaparecidas, que flanqueavam o portal central. No coro, a mudança foi ainda mais intensa: a pequena abside carolíngia foi substituída por uma estrutura de grandes dimensões, equipada com sete capelas radiantes. A grande novidade ficava por conta dos vitrais que recobriam as janelas desses oratórios, os quais permitiam à luz do dia espalhar-se por todo o coro, desobstruído das grossas paredes. As mudanças estruturais e a nova concepção do espaço tornavam o edifício bastante distinto, quando comparado às construções românicas da época; a Saint-Denis de Suger é vista pelos estudiosos da arte medieval como um protótipo, onde a arquitetura gótica encontrou sua primeira definição, irradiando-se, nos séculos seguintes, para toda a Europa. Esta dissertação de Mestrado apresenta a tradução de um dos textos capitais para a compreensão das realizações de Suger em Saint-Denis, o De Consecratione Ecclesiae Sancti Dionysii, acompanhado de notas explicativas e dois textos críticos: um sobre o lugar de Suger na historiografia da arte medieval e outro acerca das relações entre teologia e ¿estética¿ no templo edificado pelo abade
Abstract: The abbey church of Saint-Denis, situated at the vicinity of Paris, is one of the most proeminent of the European Middle Ages. Medieval sources have a great number of references to its importance, naming it as the ¿mother of the French churches¿. For many centuries, the abbey church was the core of the prestigious royal abbey, and its status has made it free of any feudal or ecclesiastical domination and only subject to the king himself. To art historians, the most significative moment in the history of the church is the great reform promoted by abbot Suger (1122-1151) during the years 1137-1144. Suger has achieved a complete reformulation in the western sector (the narthex) and the chevet (the choir and the crypt), transforming the old carolingian building (erected at the 8th century). The narthex was enlarged and added of three new portals and statue-columns (disappeared) that flanked the central portal. In the choir, the changes were still more significant: the little carolingian apse was removed and, at its place, a new and great structure was constructed, equipped with seven radiant chappels. But one of the most significant innovations present in Suger¿s new building were the stained glass windows, the great vitraux that let the daylight spread over the choir. One can say that the structural changes and the new conception of the ecclesiatical space gave the church of Suger a new form, quiet different from other romanic sanctuaries of its time. This new building erected under Suger¿s administration is considered by the scholars as the beginning of Gothic architecture, which should spread thereafter all over Europe. This Ms. Dissertation offers a translation (to portuguese) of Suger¿s little book De Consecratione Ecclesiae Sancti Dionysii, with explicative notes and two analytical texts: the former is about the place of Suger at the medieval art historiography and the latter is about the relations between the theology and the ¿aesthetics¿ in the old Saint-Denis abbot¿s temple
Mestrado
Historia da Arte
Mestre em História

Ainda pouco conhecida e estudada, a pintura retabular O Juízo Final e a Missa de São Gregório é uma das raras obras tardo-medievais existentes no Brasil, fazendo parte do acervo do Museu de Arte de São Paulo (MASP). Essa obra foi produzida em Valência para ser o painel central de uma abadia na Borgonha, França. Apesar da excelente oportunidade de estudos que ela apresenta para os historiadores da arte medieval, ela não fora até agora objeto de pesquisas detalhadas. O nosso objetivo, portanto, é analisar tal peça, atentando-nos particularmente aos diversos elementos que nela remetem à Eucaristia, e que fazem dela um objeto fértil de estudos sobre esse sacramento no final da Idade Média. Para realizar essa tarefa, fundamentamos o nosso trabalho na análise e na interpretação da obra seguindo os métodos de leitura formal, estilística e iconográfica utilizados na História da Arte, relacionando também o nosso objeto ao contexto histórico de produção e recepção, através de uma revisão da documentação e da sua história até chegar ao acervo do MASP. Para atender esse objetivo, dividimos o nosso trabalho em dois eixos principais. No primeiro, versaremos sobre a imagem enquanto objeto material e estudaremos a sua história e o seu suporte. Já no segundo, analisaremos a sua iconografia em relação ao sacramento eucarístico e sua dimensão salvífica e, desse modo, investigaremos como esse painel se relaciona com o processo de legitimação do realismo eucarístico no contexto no qual a imagem foi produzida e exposta no final da Idade Média.
Still little known and studied, the altarpiece painting The Last Judgment and the Mass of Saint Gregory is one of the rare late-medieval works in Brazil as part of the collection in the Museum of Art of São Paulo (MASP). This work was produced in Valencia to be the central panel of an abbey in Burgundy, France. Despite the excellent opportunity to study it presents for historians of medieval art, it has not been, so far, a detailed research object. Our goal, therefore, is to analyse such piece, paying attention in particular to the various elements in it that refer to the Eucharist, and that makes it a fertile object of study about this sacrament in the late Middle Ages. To accomplish this task, we based our work on the analysis and interpretation of the piece following the formal, stylistic and iconographic reading methods used in Art History, also relating our object to the historical context of production and reception, through a review of the documentation and of its history until it reaches the MASP collection. To reach this goal, we divided our work in two main axes. In the first one, we will discuss about the image as a material object and we study its history and its support. In the second one, we will analyse its iconography relating to the Eucharistic sacrament and its saving characteristic and thereby we will investigate how this panel relates to the process of legitimation of the Eucharistic realism in the context in which the picture was produced and exposed in the late Middle Ages.

La present investigació doctoral té l’objectiu d’elaborar un estudi iconogràfic sobre els cicles bíblics d’un grup de manuscrits hebreus catalans del segle XIV. En concret, aquests manuscrits són haggadot, llibres per ser llegits en família durant el sopar pasqual. Tot i que el seu programa iconogràfic és variat, on s’inclouen també il·luminacions relacionades amb el contingut del text de l‘haggadà, la tesi focalitza l’atenció en els episodis bíblics miniats, la majoria dels quals dedicats al Gènesi i a l’Èxode. Cal fer esment que es tracta d’un tema complex pel que fa a la problemàtica i les diverses hipòtesis a l’entorn de la configuració i evolució de la iconografia jueva des de temps antics. Diversos estudis han abordat el tema des de múltiples perspectives i enfocaments, però a causa del gran interès i riquesa de les haggadot, no es poden deixar de fer noves observacions i consideracions en relació a les qüestions que encara queden obertes. Les haggadot catalanes il·luminades són un testimoni de primer ordre no només en l’art jueu, sinó que també aporten elements per entendre els cicles bíblics cristians en un context català o afí. La relació entre iconografia jueva i cristiana, com demostren les obres, és evident, així que l’estudi dels cicles bíblics d’aquests manuscrits pot obrir portes també per entendre els cicles veterotestamentaris cristians. Amb la intenció d’analitzar els temes de la bíblia hebrea en les haggadot catalanes, s’han tingut en compte una sèrie de factors que són clau per determinar la seva iconografia, com seria el contingut i missatge del text de l’haggadà i el significat de la festivitat de la Pasqua i el sopar ritual. S’ha considerat bàsic, també, analitzar el context artístic i històric on emmarcar la il·luminació dels manuscrits a la Catalunya gòtica, així com establir les característiques generals de les haggadot i els elements que han intervingut en la seva gènesi i creació, des dels seus artífexs fins als seus propietaris. El cos central de la tesi correspon a l’estudi, escena per escena, de les diverses vinyetes bíbliques que apareixen als manuscrits. Aquesta anàlisi ha tingut en compte les fonts literàries seguides –tant bíbliques com provinents del midraix i el Targum–, per comprovar d’on poden procedir els diversos motius iconogràfics inserits a les escenes, així com els models i correspondències artístiques amb altres obres de context jueu i cristià. Amb la finalitat d’establir comparacions i determinar les particularitats de les haggadot catalanes, s’han tingut en compte un bon nombre d’obres que comparteixen els mateixos temes iconogràfics. Això ha permès fer valoracions en relació a quina tradició segueixen les imatges i establir fins a quin punt són fruit d‟una còpia dels cicles cristians o si inclouen especificitats úniques pròpies de la tradició jueva. Per valorar les escenes en el seu conjunt, també s’ha dedicat un capítol al significat i funció del programa bíblic tenint en compte la resta del programa iconogràfic, el motiu de l’elecció d’aquests temes i la funció de les imatges en el llibre segons el context historicocultural, unes qüestions que són fonamentals en un estudi iconogràfic.
The present doctoral research aims to elaborate an iconographic study on the biblical cycles of a group of Hebrew Catalan manuscripts from the 14th century. In particular, these manuscripts are Haggadot, books to be read with the family during the Passover meal. Although their iconographic programme is varied, also including illuminations related to the content of the Haggadah text, the thesis focuses on the miniated biblical episodes, most of which are dedicated to the Genesis and the Exodus. It is important to highlight that this is a complex topic because of the different hypothesis concerning the configuration of Jewish art. Several studies have dealt with the subject from multiple perspectives and approaches, but because of the great interest and wealth of the Haggadot, new observations and considerations need to be made with respect to the issues that remain open. The illuminated Catalan Haggadot are not only a testimony of prime importance in Jewish art, but they also provide elements to understand the Christian biblical cycles in a Catalan context or similar. The relationship between Jewish and Christian iconography, as the works show, is obvious. Therefore, studying the biblical cycles of these manuscripts can also open doors to understand the Christian vetero-testamentary cycles. With the intention of analysing the topics pertaining to the Hebrew Bible in the Catalan Haggadot, a number of factors which are key to determine their iconography have been taken into account, such as the content and message of the Haggadah text and the meaning of the Passover and ritual dinner. It has also been considered necessary to analyse the artistic and historical context in which the illumination of the manuscripts of Gothic Catalonia was formed, as well as establishing the general features of the Haggadot and the elements that have contributed to their genesis and creation, from their authors to their owners. The main body of the thesis corresponds to the study, scene by scene, of the several biblical vignettes that appear in the manuscripts. This analysis has taken into account the literary sources consulted, such as the biblical sources and those from the Midrash and the Targum, to prove where the different iconographic motifs inserted in the scenes may come from, as well as the models and artistic correspondences with other works in Jewish and Christian contexts. In order to compare and determine the particularities of the Catalan Haggadot, a large number of works which share the same iconographic themes have been taken into account. This has made it possible to carry out assessments with respect to the tradition that the images follow and to establish the extent to which they are a result of a copy of the Christian cycles or whether they include unique special features specific to the Jewish tradition. In order to assess the scenes as a whole, a chapter has been dedicated to the meaning and function of the biblical programme while taking into account the rest of the iconographic programme, the reason for choosing these themes and the function of the images in the book according to the historical-cultural context, all of which are fundamental issues in an iconographic study.

No segundo quartel do século XII, Suger de Saint-Denis, monge cluniacense, escreveu três textos nos quais mencionou e descreveu a reforma que conduziu na abadia de Saint-Denis durante seu abaciado. Essa reforma foi posteriormente identificada pela História da Arte como a origem da arquitetura gótica. Tais textos, conhecidos como Ordinatio, De Consecratione e De Administratione, publicados e traduzidos em diversas edições, foram analisados, assim, por alguns historiadores da arte, como Erwin Panofsky, Peter Kidson, Jean-Claude Bonne e Conrad Rudolph, a partir de marcos teóricos relacionados às artes, à arquitetura, à estética e à psicologia. Contudo, apesar de muitos estudiosos, como Rita Copeland e Suzanne Reynolds, advogarem a importância da retórica no século XII, as características retóricas desses textos não foram, ainda, examinadas de forma minuciosa por estudiosos. A investigação sobre os gêneros discursivos nos quais os textos foram compostos, sobre as partes do discurso e sobre as técnicas retóricas aplicadas aos textos pode revelar que algumas passagens que tradicionalmente foram tomadas à letra ou como a experiência empírica e a opinião de Suger podem ser pensadas como posicionamentos não literais e discursivos. Portanto, o objetivo desta pesquisa é contribuir para a erudição sobre os escritos de Suger por meio do reconhecimento e da análise de suas características retóricas
In the second quarter of the twelfth century, Suger of Saint-Denis, a Cluniac monk, wrote three texts in which he mentioned and described the renovation he carried out in the abbey church of Saint-Denis in his prelacy. That renovation was later identified by History of Art as the origin of Gothic architecture. Such texts, known as Ordinatio, De Consecratione, and De Administratione, published and translated in several editions, have thus been analyzed by some art historians, namely Erwin Panofsky, Peter Kidson, Jean-Claude Bonne, and Conrad Rudolph, based on theoretical frameworks related to the arts, architecture, aesthetics, and psychology. Nevertheless, although many scholars, such as Rita Copeland and Suzanne Reynolds, have been asserting the importance of rhetoric in the twelfth century, the rhetorical character of these texts has not yet been thoroughly examined by scholars. Investigation into the genres in which the texts were written, into the parts of discourse, and into the rhetorical techniques applied to the texts may reveal that some passages that have traditionally been taken at face value or as Suger\'s empirical experience and opinion may be thought of as non-literal-minded and discursive stances. Therefore, the purpose of this research project is to contribute to the scholarship on Suger\'s writings by recognizing and scrutinizing their rhetorical features

The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society’s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre. My primary focus is on Chris Ware, whom I introduce in chapter three, a brilliant creator who has garnered widespread recognition and respect. His magnum opus is Jimmy Corrigan: The Smartest Kid on Earth, the story of four generations of Corrigan men, most of whom have been negligent in raising their children. Jimmy Corrigan, as a result, is an introverted, insecure thirty–something–year–old man. Among comics creators Ware is unusual in that his story does not address socio–political issues, like most of his peers, which I discuss in chapter four. Jimmy Corrigan is an isolated tale with a very specific focus. Ware’s narrative is somewhat like those of William Faulkner, whose stories have a narrow focus, revolving around the lives of the inhabitants of Yoknapatawpha county, rather than encompassing the vast landscape of national socio–political concerns. Also, in chapter five I explore the intriguing combination of realist and Gothic elements––normally at opposite ends of the generic continuum––that Ware merges in Jimmy Corrigan. This feature is especially interesting because it is another way that his work explores aspects of hybridity. Finally, in my conclusion I examine the current state of comics in American culture and its future prospects for development and success, as well as the potential for future comics criticism.

Lo studio della pittura sarda del tardo Quattrocento è viziato, all’origine, dalle enormi lacune documentarie che ne ostacolano i percorsi di studio. La Sardegna del XV secolo non è un’isola sperduta nel Mediterraneo, ma un’isola al centro del Mediterraneo. Al centro dei traffici e delle influenze di molteplici correnti artistiche regionali che, se da un lato ne arricchiscono il valore artistico, dall’altro ne complicano notevolmente i percorsi di ricerca. Nello specifico si sono analizzati gli studi bibliografici che dalla fine dell’Ottocento sino alle soglie della storiografia più recente hanno interessato la pittura tardomedievale in Sardegna cercando di capire in quale condizione storica, politica e sociale si mossero i primi studiosi stranieri che visitarono l’isola alla ricerca dei cosiddetti pittori “primitivi”. Attraverso le fonti ottocentesche si è ricostruito il percorso effettuato da diverse opere sarde esportate all’estero e definito le figure di studiosi e collezionisti quali: Georgiana Goddard King, Anna Rose Giles, Ellen Giles, William Middleditch Scott e Piero Tozzi. Questo lavoro ha permesso di comparare a livello internazionale i contenuti delle fonti consentendoci d’individuare i punti deboli di alcune delle ipotesi scientifiche più accreditate e d’indirizzare le energie su percorsi tanto inesplorati quanto percorribili. In particolare l’analisi della bibliografia su Joan Barceló ha evidenziato alcune discrepanze tra i suoi dati storico/documentari e gli elementi stilistici a egli pertinenti tanto da metterne in dubbio il catalogo delle opere finora assegnategli. Alla luce dei dati, pur con una diagnosi critica, severa e attenta, sembra assai difficile dimostrare che in Sardegna operò un solo Joan Barceló. Questo lavoro di ricerca, pertanto, ha proposto che esistano due artisti dallo stesso nome, escludendo la possibilità che l’autore del Retablo della Visitazione conservato nella Pinacoteca Nazionale di Cagliari, potesse essere lo stesso pittore cui fu affidato nel 1508 l’incarico per la realizzazione del retablo destinato all’altare maggiore di Santa Maria del Pi a Barcellona. Di contro si è dimostrato che l’unico artista in grado di possedere tali caratteristiche era appunto il noto Maestro di Castelsardo, ora identificato in Joan Barceló II. La rigorosa analisi stilistica delle sue opere ha reso possibili le comparazioni con le coeve produzioni europee e, soprattutto, moltiplicato i modelli desunti dalle stampe e dalle miniature tedesche e fiamminghe, dimostrando tra l’altro l’inedito legame del Maestro di Castelsardo con diversi modelli artistici provenienti dalla pittura italiana. Le comparazioni stilistiche hanno, inoltre, permesso di ridefinire cronologicamente, e contestualizzare artisticamente, le opere del Maestro con la definizione dei termini ante quem e post quem per tutto il catalogo. Si è avanzata la proposta di stabilire la sede della bottega del Maestro da Cagliari a Sassari e si sono ricostruiti i contatti artistici con la Corsica, confermati dalle ricerche d’archivio effettuate a Genova. Il filo conduttore di tutto il progetto di Tesi è stato, oltre alla cura degli aspetti storico-documentali, quello di portare avanti una ricerca per immagini, sulle tracce dei modelli e degli agganci stilistici alle correnti artistiche che ruotarono attorno alla Sardegna, non limitandosi ai tradizionali ambiti catalani ma allargando gli orizzonti sino a comprendere una parte consistente della produzione pittorica del secondo Quattrocento italiano. L’obiettivo fermo della Tesi è sempre stato quello di approcciarsi alla ricerca cercando di eludere, per quanto possibile, i preconcetti storiografici sulla marginalità dell’arte sarda e sulla sua quasi esclusiva dipendenza dal versante iberico. Si è cercato d’uscire dal luogo comune che considera artisti di primo piano, come il Maestro di Castelsardo, episodi estemporanei, esempi di ecletticità pittorica chiusi in se stessi o limitati all’orizzonte del tardogotico catalano. Si è cercato invece di capire da dove provenisse questa ecletticità, quale fosse il suo reale sostrato culturale e artistico di riferimento. Si è cercato di comprendere, soprattutto, se la Sardegna del Quattrocento disponesse degli strumenti per sostenere una qualche forma di autonomia artistica, se fosse cioè in grado di elaborare dal proprio interno un originale linguaggio pittorico da offrire al circuito artistico quattrocentesco. Attraverso l’attività della bottega di Joan Barceló II si è dimostrato che questo è avvenuto.
The Thesis analyzes the bibliographical studies that, from the end of the nineteenth century up to the beginning of the most recent historiography, have affected the late medieval painting in Sardinia. It reconstructs the pathway followed by several sardinian works exported abroad and it defines the figures of scholars and collectors such as: Georgian Goddard King, Anna Rose Giles, Ellen Giles, William Middleditch Scott and Piero Tozzi. The work has allowed us to compare internationally the contents of the sources, to identify the weak points of some of the most cerified scientific hypotheses and to direct the energies on pathways so much unexplored as far as achievable. Especially the analysis on Joan Barceló bibliography has highlighted some discrepancies between his historical features, and his stylistic elements, enough to put in doubt the catalog of works. The Thesis therefore, suggests that there are two artists with the same name, it excluds the chance that the author of the Retablo della Visitazione kept inside the Pinacoteca Nazionale of Cagliari, he could be the same painter which was committed in 1508 the accomplishment of the retablo for the high altar of Santa Maria del Pi in Barcelona. On the other hand it is proved that the only artist able to possess these characteristics was the well-known Master of Castelsardo, now identified as Joan Barceló II. A meticolous stylistic analysis of his works has made possible the comparisons with some contemporary european productions and, especially, increased the numbers of models took from German and Flemish prints and miniatures, showing, among other things, unknown connection between the Maestro of Castelsardo and the different artistic models from the Italian painting. The stylistic comparisons have also allowed us to redefine chronologically , and contextualize artistically the Master’s works with the definition of the terms ante quem and post quem of the whole catalog. It is proposed to establish to move change the bottega of the Master’s workshop from Cagliari to Sassari and rebuilt his artistic contacts with Corsica. The common thread throughout the thesis’ project was, in addition to the historical and documentary aspects, to carry out a research through images in the footsteps of the models and the stylistic suggestions of the international artistic currents that moved around Sardinia in the early sixteenth century.
Estudiar y analizar los acontecimientos del arte tardo-medieval en Cerdeña es sin duda una empresa muy difícil, debido a los problemas de falta de documentación y, sobretodo, de la dispersión de gran parte del patrimonio artístico. A las habituales dificultades de investigación para un contexto archivístico tan pobre, hay que añadir las dificultades inherentes a la posición geográfica de Cerdeña. No se trata de una isla perdida en el Mediterráneo, sino de una isla en el centro del Mediterráneo. Está en el centro del comercio y de las influencias de múltiples corrientes artísticas regionales que, si por un lado enriquecen el valor artístico, por otro lado complican en gran medida el trabajo de investigación. Para desarrollar el proyecto de investigación se ha decidido estructurar el trabajo en dos partes. Una dedicada a las fuentes y a los contextos históricos y artísticos y otra a uno de los pintores del siglo XV de Cerdeña, quizás el más importante, el Maestro de Castelsardo. Cada parte se divide en capítulos distintos, pero lógicamente interrelacionados. El primero está dedicado a los estudios e investigaciones sobre el patrimonio pictórico disperso, donde se repasan las contribuciones críticas que a finales del siglo XIX hasta el comienzo de la historiografía más reciente han tratado la pintura medieval tardía en Cerdeña. Este trabajo permite conocer el contexto histórico, político y social en el que se movieron esos primeros estudiosos, sobre todo los extranjeros que visitaron la isla buscando los llamados pintores "primitivos" (Georgiana Goddard King, Ellen Giles, Anna Rose Giles). El segundo bloque trata de utilizar las fuentes de los siglos XIX y XX para ampliar el catálogo razonado de las pinturas dispersas en las colecciones italianas o extranjeras. Además, se reconstruye la trayectoria de una parte de las obras vendidas por el pintor y mercader de arte Enrico Castagnino y del coleccionista y antiquario Piero Tozzi. Incluso se ha investigado sobre la actividad del coleccionista inglés William Middleditch Scott, así como sobre el destino del Retablo de San Pedro mártir y Marcos el evangelista pintado por Joan Figuera y que con sus complejos cambios de propiedad se ha convertido en el paradigma de la condición de los mercados artísticos de las pinturas medievales de la Cerdeña de estos últimos siglos. El tercer bloque trata de las fuentes, analiza el entorno histórico, político y económico en el que hipotéticamente se movió el Maestro de Castelsardo. Especial atención se ha dado al estudio de los mercados artísticos del siglo XV encuadrados en una densa red de comercio en que las principales ciudades de Cerdeña, y toda la isla en general, tuvieron un papel clave en facilitar la circulación de las corrientes artísticas europeas. Definido el contexto histórico y económico, se llega a introducir la figura del Maestro de Castelsardo a través del análisis de los principales protagonistas que precedieron, y en algunos casos acompañaron su actividad artística. Joan Figuera, Joan Barceló y el Maestro del Presepio, representan simbólicamente con sus obras las fases de aproximación al lenguaje pictórico de Cerdeña a finales del siglo XV y principios del siglo XVI, por eso se ha decidido centrar la atención en sus obras y sus retablos. La última parte de la tesis parte de los estudios historiográficos sobre el Maestro de Castelsardo. A través de un cuidadoso análisis de los aspectos de su producción artística, junto con la recopilación de toda la documentación sobre el pintor Joan Barceló II, esta parte se propone identificar a éste último con el ya conocido Maestro de Castelsardo. Una vez trazada esta "nueva" personalidad, se ha intentado colocarla en un contexto mediterráneo más amplio y compuesto por múltiples corrientes artísticas europeas. La parte final de la tesis, pues, ha sido dedicada a la definición de un corpus de obras del Maestro, para que su catalogo sea insertado en un plan diacrónico coherente.

Cette thèse porte sur l'architecture gothique flamboyante du comté de Bourgogne dela fin du XIVe siècle aux grands chantiers du XVIe siècle : Notre-Dame de Gray etNotre-Dame de Dole. Le corpus compte dix-sept monuments comprenant une majoritéd'églises paroissiales et deux chapelles commanditées par de puissants seigneurs comtois.Cette étude s'inscrit dans un vaste cadre chronologique et permet de poser unjalon dans la compréhension de l'architecture flamboyante en France. La confrontationdes sources écrites à l'analyse monumentale des édifices permet d'appréhender la complexité et la diversité des formes qui s'introduisent dans le comté de Bourgogne à la findu Moyen Âge et dans la première moitié du XVIe siècle
This thesis focuses on the Flamboyant Gothic architecture of County of Burgundyfrom the late XIV century to the large construction sites of the XVI century : Notre-Dame de Gray and Notre-Dame de Dole. The corpus has seventeen monuments mostlycomprised of parish churches, but also of two chapels commissioned by powerful lordsof the County. This study is part of a broad chronological framework and helps lay amilestone in the understanding of the flamboyant architecture in France. The approachis a comparative analysis of sources and monumental buildings, which allows us tounderstand the complexity and the diversity of forms that were introduced into theCounty of Burgundy in the late Middle Ages and in the first half of XVI century

Cette thèse propose une étude de l’œuvre intégrale de Jacques-Antoine de Révéroni Saint-Cyr (1767-1829), ingénieur militaire et écrivain, au sein de la production littéraire de l’époque révolutionnaire et impériale, à la croisée de la littérature, de l’histoire des sciences et de la musique. Étude historique, thématique et herméneutique, cette lecture critique analyse un imaginaire au tournant des Lumières qui comprend des mémoires sur l’art militaire, sur les beaux-arts et sur l’équilibre européen, des textes scéniques (opéras-comiques et comédies) et des romans. Cette diversité générique témoigne d’un complexus imaginaire partagé entre cœur et raison, mécanique et sensibilité, sérénité et inquiétude, qui inscrit le corpus révéronien dans un paradigme charnière entre l’héritage rationaliste de la philosophie des Lumières et une esthétique à coloration romantique
This thesis studies the integral work of Jacques-Antoine de Révéroni Saint-Cyr (1767-1829), a military engineer and writer, at the breast of literary production of the French Revolution and Empire, encompassing literature, history of sciences and music. Historical, thematic and hermeneutical, this critical study analyses Reveroni’s imagery at the turning point of the age of enlightenment which includes essays about military art, fine arts and European equilibrium, theatrical production (comic operas and comedies) and novels. This variety of genres constructs an “imagery complexus” divided between heart and reason, mechanic and sensibility, serenity and anxiety, linked to a key paradigma between the rationalist heritage of the philosophy of enlightenment and an aesthetic coloured with romanticism