Academic literature on the topic 'Jardins de sculptures'
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Journal articles on the topic "Jardins de sculptures"
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Maral, Alexandre, and Cyril Pasquier. "Sculptures des jardins de Trianon. L’enfance partout répandue." Versalia. Revue de la Société des Amis de Versailles 20, no. 1 (2017): 181–96. http://dx.doi.org/10.3406/versa.2017.1172.
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Maral, Alexandre, and Cyril Pasquier. "Sculptures des jardins de Trianon. Le musée de plein air de Louis XIV." Versalia. Revue de la Société des Amis de Versailles 21, no. 1 (2018): 101–26. http://dx.doi.org/10.3406/versa.2018.1208.
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Suciu, Silvia. "Piața de artă în Franța în sec. XVII-XVIII." Anuarul Muzeului Etnograif al Transilvaniei 33 (December 20, 2019): 171–205. http://dx.doi.org/10.47802/amet.2019.33.12.
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Conçu comme une continuation de l’essaye „L’affaire de l’Art. Le Marché d’Art aux Pays Bas, au XVIIe siècle” (AMET 2018), cette étude suit la création artistique et le destinataire de l’œuvre d’art en France, aux XVIIe et XVIIIe siècles. À la Cour du Roy Soleil, la possession d’un capital culturel (objets de luxe, tableaux, bijoux, calèches) était un moyen de montrer le rang, la vertu et la grandeur à travers la valeur associée à ces objets. Louis XIV a exercé un contrôle absolu de la production des œuvres d’art crées à Versailles, dans tous les domaines d’art : architecture, sculpture, peinture, théâtre, ballet, musique… Il y a réalisé un mouvement culturel et artistique et s’est entouré d’une pléiade d’artistes : Charles Le Brun, Nicolas Poussin et Pierre Mignard (premiers peintres du Roy), Molière (ses pièces étaient jouées à Versailles et dans les salons de Paris), Jean-Baptiste Lully (qui encourageait la passion du Roy pour la danse), Jean Racine (l’„historique officiel” du Roy), André le Nôtre (architecte du parc et des jardins de Versailles), Jean de la Fontaine, Charles Perrault etc. Parallèlement à la vie artistique de Versailles, pendant le XVIIIe siècle on assiste au développement du marché libre d’art à Paris ; dans le magasin appartenant à Edme-François Gersaint, Au Grand Monarque, les clients achetaient des tableaux, des gravures, des sculptures, des naturalia et d’autres objets de luxe. Gersaint a été le premier à Paris qui a réalisé des ventes aux enchères, suivant le modèle des Pays Bas. Ces enchères et les chroniques d’art de Denis Diderot ont beaucoup contribué à la „démocratisation” du public des arts plastique en France et dans tout le monde, à partir du XVIIIe siècle.
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Maral, Alexandre. "L’ « Estat présant des figures » (1686), première description des sculptures des jardins de Versailles après l’installation de la cour : un document inédit." Bibliothèque de l'école des chartes 170, no. 1 (2012): 59–102. http://dx.doi.org/10.3406/bec.2012.464181.
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Baker, Malcolm. "Pourquoi la sculpture n’est plus ennuyeuse. Recherches sur la sculpture française des jardins de Versailles aux panthéons de la révolution." Perspective, no. 2 (July 30, 2006): 289–314. http://dx.doi.org/10.4000/perspective.387.
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Van den Broucke, Jakob. "A review of Karel Verhoeven’s “Scenes (cour jardin)”: An open invitation to play." Art/Research International: A Transdisciplinary Journal 5, no. 1 (February 28, 2020): 215–22. http://dx.doi.org/10.18432/ari29525.
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This is a review of “Scenes (cour jardin),” an ongoing project series by Belgian visual artist and designer Karel Verhoeven. The series consists of different architectural sculptures that are placed in (semi)public spaces. This review evaluates the project in terms of its relevancy for socially engaged artistic practice, and the more fundamental questions it raises: What can be learned from situations created by art in public space? How does an observation guide artistic practice? Is it hypothetically possible to assume that the essence of the work of art is not in its appearance, but in how the work is used? What are interesting opportunities for collaborations between artists and social scholars?
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Thiel, Tamiko. "Gardens of the Anthropocene // Jardines del Antropoceno." Ecozon@: European Journal of Literature, Culture and Environment 8, no. 2 (October 31, 2017): 193–97. http://dx.doi.org/10.37536/ecozona.2017.8.2.1890.
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Augmented Reality Installation in public space by Tamiko Thiel, 2016 – 2017: http://tamikothiel.com/gota/. Originally commissioned for the Seattle Art Museum Olympic Sculpture Park in summer 2016. The augmented reality (AR) installation Gardens of the Anthropocene posits a science fiction future in which native aquatic and terrestrial plants have mutated to cope with the increasing unpredictable and erratic climate swings. The plants in the installation are all derived from actual native plants in and around the Olympic Sculpture Park that are tolerant respectively to drought on land or to warming sea waters, and are therefore expected to adapt to the increasing temperatures to come. Beyond this actual scientific basis, however, the artwork takes artistic license to imagine a surreal, dystopian scenario in which plants are "mutating" to breach natural boundaries: from photosynthesis of visible light to feeding off of mobile devices' electromagnetic radiation, from extracting nutrients from soil to feeding off man-made structures, and to transgressing boundaries between underwater and dry land, between reactive flora and active fauna. Gardens of the Anthropocene has been eradicated in Seattle, but as the plants are native also to the San Francisco Bay Area, they have relocated to the Stanford University campus, between Memorial Auditorium and Hoover Tower, around the Hoover Fountain. Also, installations of red algae have been discovered on the East Coast of the USA, in Brooklyn, NY and Salem, MA. Resumen Instalación de Realidad Aumentada en espacio público por Tamiko Thiel, 2016 – 2017: http://tamikothiel.com/gota/. Encargado originalmente para el Parque de Escultura Olímpica del Museo de Arte de Seattle en el verano de 2016. La instalación de realidad aumentada (RA) Jardines del Antropoceno plantea un futuro de ciencia ficción en el que las plantas acuáticas y terrestres nativas han mutado para lidia con los cambios climáticos cada vez más impredecibles. Todas las plantas de la instalación provienen de plantas nativas reales del Parque de Escultura Olímpica y sus alrededores, que son tolerantes a la sequía en tierra o a las aguas marinas cada vez más cálidas, y que por lo tanto se espera que se adapten a las temperaturas en aumento que están por venir. Sin embargo, más allá de esta base científica real, la obra artística se toma la licencia de imaginar un escenario surrealista y distópico en el que las plantas “mutan” para romper barreras naturales: desde la fotosíntesis de la luz visible hasta nutrirse de la radiación electromagnética de dispositivos móviles, desde extraer nutrientes del suelo hasta alimentar estructuras hechas por el hombre, y hasta transgredir fronteras entre el agua y la tierra seca, entre flora radiactiva y fauna activa. Jardines del Antropoceno ha desaparecido de Seattle, pero como las plantas también son nativas de la zona de la bahía de San Francisco, han sido recolocadas en el campus de la Universidad de Stanford, entre el Memorial Auditorium y la Torre Hoover, alrededor de la Fuente Hoover. Además, se han descubierto instalaciones de algas rojas en la Costa Este de EEUU, en Brooklyn, NY y Salem, MA.
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Zieliński, Jan. "Ekfraza jako pytanie o prawo do zachwytu." Colloquia Litteraria 16, no. 1 (November 19, 2014): 29. http://dx.doi.org/10.21697/cl.2014.1.02.
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Ekphrasis as a question about the right to enchantment The author discusses Fr. Janusz S. Pasierb’s poem spotkanie [meeting] from Zdejmowanie pieczęci [Removing the seal] volume (Warsaw, 1982). He treats the poem as an example of a double ekphrasis – a simultaneous reference to two works of art; one of them is Auguste Ottin’s large sculpture Polyphème surprenant Galatée dans les bras d’Acis (1866) composed into Marie de’ Medici’s fountain in Parisian Jardin du Luxembourg, the other Giovanni Lafranco’s painting Lucina e Norandino sorpresi dall’Orco (c. 1624) from the Borghese Gallery in Rome. The analysis, which evokes mythological, literary (Ariosto, Proust) and iconographical (Redon) contexts, leads to a conclusion about art’s mediating role; about art as ground that allows for enchantment over otherwise inaccessible forms of beauty.
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Bellido-Márquez, María del Carmen. "Documentación escrita y fotográfica parametrizada del Monumento a Francisco de Paula Valladar (Granada) como útil para su valoración, difusión y conservación." Arte y Políticas de Identidad 23 (December 30, 2020): 199–229. http://dx.doi.org/10.6018/reapi.461231.
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Esta investigación define las características del Monumento a Francisco de Paula Valladar y Serrano (Granada). Su objetivo es documentar la escultura y para ello es preciso datar su ubicación geográfica, obtener su descripción, medidas y materiales de construcción, analizar su contexto histórico-cultural, concretar su lectura, considerar su valor patrimonial y exponer su estado de conservación. La metodología utilizada es teórica documental y de práctica fotográfica parametrizada, geolocalizadora y de orientación espacial. Las conclusiones obtenidas determinan que esta escultura monumental está ubicada en los Jardines del Genil (Granada), su acceso es por el paseo de la Bomba, su localización presenta una Latitud de 37º16´78.31´´ N y una Longitud de 3º59´98.45´´ E, su orientación frontal es NE-SO, sus medidas totales son de 232 x 76 x 76 cm. Se trata de una obra formada por peana pétrea -con alegorías femeninas y textos- y busto masculino de bronce patinado, su estilo es figurativo, su valor histórico es considerable, su lectura es conmemorativa y de homenaje, su contexto histórico de creación es culturalmente importante, su estado de conservación es medio y necesita restauración. La difusión de esta información contribuye a actualizar la memoria del patrimonio artístico de la ciudad. This research defines the characteristics of the Monument to Francisco de Paula Valladar y Serrano (Granada). Its objective is to document the sculpture and for this it is necessary to date its geographical location, obtain its description, measurements and construction materials, analyze its historical-cultural context, specify its reading, consider its heritage value and expose its state of conservation. The methodology used is documentary theory and parametric photographic practice, geolocation and spatial orientation. The conclusions obtained determine that this monumental sculpture is located in the Jardines del Genil (Granada), its access is through the Paseo de la Bomba, its location has a Latitude of 37º16´78.31´´ N and a Longitude of 3º59´98.45´´ E, its frontal orientation is NE-SO, its total measurements are 232 x 76 x 76 cm. It is a work formed by a stone base - with feminine allegories and texts - and a patinated bronze male bust, its style is figurative, its historical value is considerable, its reading is commemorative and tribute, its historical context of creation is culturally important, its state of conservation is medium and needs restoration. The dissemination of this information contributes to updating the memory of the city’s artistic heritage.
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Paris, F., J. B. Richardson, W. Riegel, M. Streel, and M. Vanguestaine. "Devonian (Emsian-Famennian) Palynomorphs." Journal of Micropalaeontology 4, no. 1 (March 1, 1985): 49–82. http://dx.doi.org/10.1144/jm.4.1.49.
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Abstract. EMSIANMiospore assemblages which can be positively assigned to the Early Devonian have, to date, only been recorded from core material from Well A1-33. Assemblages of Emsian age were recorded from the interval 8079 to 8091 ft. whilst assemblages from 8055 to 8076 ft. contain some taxa which are common in the Emsian elsewhere but are not diagnostic. Assemblages recovered from sediments in the interval 9700 to 9709 ft. in Well A1-33 were dominated by leiospheres together with smaller numbers of acanthomorph acritarchs. The age of this interval is unknown but it could be as old as Ordovician.The Emsian assemblages recovered from the interval between 8079 to 8091 ft. contain a wide variety of azonate miospores together with species possessing an equatorial crassitude, specimens with zonate extensions are rare. Miospores with sculptural or structural modifications around their equators are relatively common i.e. ?Procoronaspora sp., Diatomozonotriletes sp. A. and Craspedispora craspeda. The presence in these assemblages of Emphanisporites annulatus, E. erraticus, E. rotatus, E. cf. decoratus, E. obscuras, Dibolisporites eifeliensis, D. cf. gibberosus, D. echinaceas, Apiculiretusispora brandtii together with small tripapillate miospores suggest an Early or Middle Emsian age to be probable. The assemblages are closely comparable with Emsian microfloras recorded in the Polignac Basin of Algeria (Jardiné & Yapaudjian, 1968) and the Rhadames Basin of Western Libya (Massa & Moreau-Benoit, 1976).EIFELIANMiospore assemblages of probable Eifelian age have been recovered from Well A1-37 from cored material at 10674 ft. The miospore populations which are extremely well preserved contain . . .
Dissertations / Theses on the topic "Jardins de sculptures"
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Cabañas, Pedro Carmen Cecília. "A arquitetura espontânea de Niki de Saint Phalle : o jardim de tarô /." São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/86999.
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Orientador: Clice de Toledo Sanjar MazzilliResumo: O presente trabalho concentra-se no estudo de um conjunto específico de obras da artista Niki de Saint Phalle, analisados sob o viés da arquitetura espontânea. Esse termo, bastante, desconhecido, é empregado para definir obras quer, pela sua escala e forma podem ser compreendidas como construções arquitetônicas diferenciadas, produzidas por "não-arquitetos". Essa produção é geralmente associada à produção de artistas outsiders , aproximando-se mais da arte e da fantasia. Essas construções vão surgindo gradualmente na obra do artista Niki de Saint Phalle, que são destacadas uma a uma nesta investigação. Para maior embasamento foi feito o levantamento de de outras manifestações da arquitetura espontânea, compreendendo o trabalho construtivo de artistas e arquitetos espontâneos. Esses esforços criativos podem ser encontrados em várias partes do mundo, principalmente na Europa e América. A segunda parte da dissertação é dedicada inteiramente ao Jardim de Tarô, parque de esculturas projetado e construído por Niki, na Toscana, Itália. O jardim recebeu a influência do Park Guell do arquiteto Gaudi e é construido por esculturas monumentais que representam as cartas do tarô. A escolha do foco da segunda parte da dissertação neste jardim justifica-se por ele concentrar a maior quantidade de exemplos da arquitetura e espontânea na obra da artista.
Abstract: The present work is concentrated on the study of a set specify of works of the artist Niki de Saint Phalle, analised under the slant of the spontaneous architecture. This term quite unknown, is employed in order that define works that , by the scale and form there can be understood how differential architectural constructions produced by "non-architets" This producation is generally associate to the outsider's artist production bringing near more near more than the art and the fantasy. These constructions are appearing gradually in the work of the artist Niki de Saint Phalle, that I detach one to one in this investigation. For bigger foundation, I do the lifting of other demonstrations of the spontaneous architecture, understanding the constructive work of these artists and spontaneous architects. These creative efforts can be found in several parts of the world, mainly in Europe and America. The second part of the work is dedicated completely to the Tarot Garden, park of sculptures projected and built bu Niki, in Tuscay, Italy. The garden received great influence of the Park Guell of the architect Gaudi, and it is constituted by monumental sculputures represented by letters of the tarot. I chose to focus the second part of the dissertation on this garden because it concentrats the biggest quantity of examples of the spontaneous architecture in the work of the artist.
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Cabañas, Pedro Carmen Cecília [UNESP]. "A arquitetura espontânea de Niki de Saint Phalle: o jardim de tarô." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86999.
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cabanaspedro_cc_me_ia.pdf: 5295856 bytes, checksum: a8c9a5039b8aa9967830938958a1f32a (MD5)Universidade Estadual Paulista (UNESP)
O presente trabalho concentra-se no estudo de um conjunto específico de obras da artista Niki de Saint Phalle, analisados sob o viés da arquitetura espontânea. Esse termo, bastante, desconhecido, é empregado para definir obras quer, pela sua escala e forma podem ser compreendidas como construções arquitetônicas diferenciadas, produzidas por “não-arquitetos”. Essa produção é geralmente associada à produção de artistas outsiders , aproximando-se mais da arte e da fantasia. Essas construções vão surgindo gradualmente na obra do artista Niki de Saint Phalle, que são destacadas uma a uma nesta investigação. Para maior embasamento foi feito o levantamento de de outras manifestações da arquitetura espontânea, compreendendo o trabalho construtivo de artistas e arquitetos espontâneos. Esses esforços criativos podem ser encontrados em várias partes do mundo, principalmente na Europa e América. A segunda parte da dissertação é dedicada inteiramente ao Jardim de Tarô, parque de esculturas projetado e construído por Niki, na Toscana, Itália. O jardim recebeu a influência do Park Guell do arquiteto Gaudi e é construido por esculturas monumentais que representam as cartas do tarô. A escolha do foco da segunda parte da dissertação neste jardim justifica-se por ele concentrar a maior quantidade de exemplos da arquitetura e espontânea na obra da artista.
The present work is concentrated on the study of a set specify of works of the artist Niki de Saint Phalle, analised under the slant of the spontaneous architecture. This term quite unknown, is employed in order that define works that , by the scale and form there can be understood how differential architectural constructions produced by non-architets This producation is generally associate to the outsider's artist production bringing near more near more than the art and the fantasy. These constructions are appearing gradually in the work of the artist Niki de Saint Phalle, that I detach one to one in this investigation. For bigger foundation, I do the lifting of other demonstrations of the spontaneous architecture, understanding the constructive work of these artists and spontaneous architects. These creative efforts can be found in several parts of the world, mainly in Europe and America. The second part of the work is dedicated completely to the Tarot Garden, park of sculptures projected and built bu Niki, in Tuscay, Italy. The garden received great influence of the Park Guell of the architect Gaudi, and it is constituted by monumental sculputures represented by letters of the tarot. I chose to focus the second part of the dissertation on this garden because it concentrats the biggest quantity of examples of the spontaneous architecture in the work of the artist.
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Gevart, Louis. "La sculpture et la terre : histoire artistique et sociale du jardin de sculpture en Europe (1901-1968)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100016.
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Établir que la sculpture et le jardin suivent une longue histoire commune relève du lieucommun. Au XXe siècle pourtant, le jardin de sculpture est devenu un espace porteur dansl’évolution des arts plastiques. Lieu intermédiaire entre la ville et le paysage, le jardin est un champ d’expérimentation formelle pour les artistes en même temps qu’une propositionmuséale ouverte. La première partie de l’étude porte sur le temps des prototypes (1901-1945),marqué par la diversité des pratiques : le plein air attire autant les sculpteurs questionnant leur rapport à la tradition et à la nature que les collectionneurs qui par leurs choix d’exposition posèrent les jalons d’une histoire de la sculpture en marche. Dans tous les cas, l’ancrage à la terre est fort. La deuxième partie traite de l’affirmation institutionnelle du jardin de sculpture dans la reconstruction (1945-1958). Réel ou imaginaire, le musée de sculpture en plein air est un champ où s’expriment les forces de la sculpture contemporaine et où s’affirment au public les questions sculpturales de l’avant-garde et où s’opère une mutation de la dialectique nature/(s)cul(p)ture. La troisième partie concerne les déplacements du jardin de sculpture (1958-1968) : de la nature à la ville dans une volonté des artistes d’investir pleinement l’espace public et d’acteurs culturels trouvant dans l’architecture un autre « en-dehors », mais aussi de la ville à la nature avec un retour à la terre de collectionneurs et directeurs de musées visionnaires concevant des espaces paysagers spécifiques, posant les prémices d’un art in situ dans le cadre institutionnelIt is generally accepted that sculpture and garden have shared a common history. Throughoutthe 20th century, however, the sculpture garden has become a strengthened space for theevolution of plastic arts. As an intermediate place between city and landscape, the garden isan experimental field both to the artists (in a formal sense) and to the museum (as an openspace). The first part of the dissertation deals with the time of prototypes (1901-1945) whenthe sculpture garden was characterized by its variety. Outdoors, sculptors have questionedtheir relation ton tradition and nature while collectors have put the first steps of a livinghistory of sculpture by their exhibition choices. By all means, their anchoring to the earthremained strong. The second part relates to the growing of the sculpture garden as culturalmodel during the Reconstruction (1945-1958). Whether real or ideal, the open-air sculpturemuseum then turns into a public theatre in which the forces of the contemporary sculpturefind their expression, particularly through the mutation of the nature/(s)cul(p)ture dialectic. At last, the third part deals with the sculpture garden shifts during the 60s (1958-1968). On the first hand, these shifts went from the landscape to the city: the artists would integrate moredirectly the urban space and the curators saw the architecture as another “outside”. On the second hand, they went from the city to the landscape: collectors and museum directors came back to the earth, conceiving specific landscapes for sculpture, laying the foundation of theexpression of an in situ art in the institutional framework
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Clemente, dos Santos Piteira Susana Maria. "Escultura y Territorio: Contradicciones, dialécticas, complicidades e interacciones. Algunos apuntes en Portugal." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/664807.
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La presente tesis es el resultado de la investigación en torno a la dicotomía y la complementariedad entre la escultura modelada y la escultura construida como instrumento para estructurar y consolidar la praxis escultórica contemporánea. El estudio se desarrolla a partir de los conceptos de naturaleza, jardín, paisaje y territorio, teniendo también en consideración las premisas fundadas por los earthworks y por la land art, cruzadas con la tradición de la escultura y del jardín, siendo la naturaleza y el territorio sus líneas conductoras. El jardín surge como fundador de una génesis de paisaje y artificio en que la escultura parece estar siempre implicada, siendo por la evolución de su génesis que, de alguna manera, hoy hablamos de territorio.
El contexto de la escultura está actualmente interconectado con el contexto de la arquitectura y del paisajismo, circunstancia que le exige la eventual reformulación de sus metodologías de trabajo. El estudio está enfocado en Portugal y en casos de obras de artistas portugueses que ayudan a consolidar su cuerpo teórico. Se presenta de igual
manera un conjunto de intervenciones de la autora que hacen una revisión a las practicas, a los procesos, y a las metodologías implicadas en este ámbito de acción artística, trabajadas a partir del territorio. Como una síntesis de este estudio se presentan tres proyectos de programación artística, pedagógica y cultural en que el denominador común es su diseño
a partir de un territorio especifico. El análisis de estos proyectos facultó la formulación de algunas herramientas de trabajo en las cuales la dimensión del patrimonio natural y del paisaje se fundamenta como sustancia a partir de la acción artística. El estudio procura ofrecer respuestas a problemáticas manifestadas a lo largo de la práctica artística y pedagógica de la autora, siendo por eso abordada por su voz activa y en primera persona.The present thesis results from the investigation on the dichotomy and the complementarity between modelled and constructed sculpture, has a contribution to structure and consolidate the contemporary sculptural praxis. This study is developed from the concepts of Nature, garden, landscape and territory, considering also the premises founded by earthworks and land art, crossed with the tradition of sculpture and the garden, being nature and territory its guide lines. Garden appears has the founder of a genesis of landscape, and the device where sculpture seems to be always present being, trough the evolution of that genesis, actually possible to talk about territory. Nowadays, the context of sculpture is strongly connected with the context of architecture and landscaping, demanding an eventual reformulation of sculpture work methodologies. This study is focused on Portugal and art case studies from Portuguese artists, helping to consolidate the theoretical body of the study. This study shows also a number of sculptural interventions from the author, reviewing the practices, the processes and the methodologies implicated in this area of artistic action, worked from the territory. As a summary of this study, three projects of artistic programing, pedagogical and cultural are presented, with the common point of having been created from a specific territory. The analysis of these three projects allowed the formulation of some work tools, where the dimension of natural patrimony and landscape turn into a subject due to the artistic action. This study tried to answer questions emerged during the artistic activity of the author, being for these reason presented by her active voice and in the first-person.
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Vareda, Júlia Piedade de Sousa Rosa. "A escultura como símbolo nos jardins do silêncio-1850-1925 : cemitérios do Alto de S. João e Prazeres." Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 2001. http://dited.bn.pt:80/29907.
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Marín, Yrigaray Aida. "Arte y Naturaleza: jardines de escultura en España (1980-2010)." Doctoral thesis, Universitat Rovira i Virgili, 2017. http://hdl.handle.net/10803/461600.
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Un jardí d’escultures és un entorn natural modificat per l’ésser humà en què art i natura conviuen i es reforcen mútuament per a l’articulació d’un missatge unitari. La seva particularitat rau en el fet que l’escultura no constitueix una mera decoració ni la natura un simple escenari per acollir-la. Malgrat que no sempre és una garantia d’èxit, la inserció de les obres d’art a la natura pot contribuir a singularitzar-la, redignificar-la i convertir-la en un paisatge carregat d’uns valors compartits per una col·lectivitat.
La present tesi doctoral analitza quatre manifestacions artístiques d’aquest tipus a l’Estat espanyol compreses entre els anys 1980 i 2010. Ubicades en realitats climàtiques ben diferents, Chillida Leku (Hernani), La Comella (Tarragona), el Projecte Art i Natura (Osca) i el Jardí de Cactus (Lanzarote) permeten analitzar en quina mesura el context preexistent pot arribar a condicionar i, fins i tot, determinar la resposta escultòrica dels artífexs i com aquesta, a la inversa, pot contribuir a millorar el "topos" inicial. A més a més, en trobar-se a l’aire lliure, els projectes artístics d’aquest tipus plantegen constantment nous reptes en matèria de conservació i obren nombroses línies de debat pel que fa als límits de l’intervencionisme curatiu.
En qualsevol cas, totes les propostes responen a un acte de compromís per part dels artistes. Un compromís vinculat a la salvaguarda dels valors patrimonials i a la voluntat de dinamitzar a través de l’art territoris inicialment deprimits des del punt de vista social, cultural i econòmic.Un jardín de esculturas es un entorno natural modificado por el ser humano en el que arte y naturaleza conviven y se refuerzan mutuamente para la articulación de un mensaje unitario. Su particularidad estriba en el hecho de que la escultura no constituye una mera decoración ni la naturaleza un simple escenario para acogerla. A pesar de que no siempre es una garantía de éxito, la inserción de las obras de arte en un entorno natural puede contribuir a singularizarlo, redignificarlo y convertirlo en un paisaje dotado de unos valores compartidos por una colectividad. La presente tesis doctoral analiza cuatro manifestaciones artísticas de este tipo en el Estado español comprendidas entre los años 1980 y 2010. Ubicadas en realidades climáticas muy diferentes, Chillida Leku (Hernani), La Comella (Tarragona), el Proyecto Arte y Naturaleza (Huesca) y el Jardín de Cactus (Lanzarote) permiten analizar en qué medida el contexto preexistente puede llegar a condicionar e, incluso, determinar la respuesta escultórica de los artífices y como ésta, a la inversa, contribuye a mejorar el "topos" inicial. Además, al encontrarse al aire libre, los proyectos artísticos de este tipo plantean constantemente nuevos retos en materia de conservación y abren numerosas líneas de debate en cuanto a los límites del intervencionismo curativo. En cualquier caso, todas las propuestas responden a un acto de compromiso por parte de los artistas. Un compromiso vinculado a la salvaguarda de los valores patrimoniales y a la voluntad de dinamizar a través del arte territorios inicialmente deprimidos desde el punto de vista social, cultural y económico.
A sculpture garden is a natural environment modified by human being in which art and nature coexist and enhance each other for the articulation of a unitary message. Its particularity lays on the fact that the sculpture does not constitute a mere decoration nor the nature a simple stage to receive it. Although it is not always a guarantee of success, the insertion of works of art into nature can contribute to singling it out, redignifying it and converting it into a landscape with values that are shared by a collectivity. The present thesis analyzes four artistic manifestations of this type in Spain from 1980 to 2010. Located in very different climatic realities, Chillida Leku (Hernani), La Comella (Tarragona), Art and Nature Project (Huesca) and The Garden of Cactus (Lanzarote) allow us to analyze to what extent the preexisting context can determine, and even, determine the sculptural response of the artists and how this contributes to improve the initial "topos". In addition, in the open air, artistic projects of these characteristics constantly pose new conservation challenges and open many lines of debate in terms of curative conservation. In any case, all these proposals respond to an act of commitment taken by the artists. A commitment linked to the safeguarding of heritage values and also the will to dynamize, through art, territories initially depressed from the social, cultural and economic point of view.
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Matsugi, Hiromi. "La sculpture d’espaces d’Isamu Noguchi en dialogue avec la spatialité américaine, 1933-1988." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080063.
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Cette thèse étudie l’ensemble des projets artistique d’Isamu Noguchi (1904-1988), qu’il nomme lui-même « sculptures d’espaces ». Il s’agit de créations environnementales in situ, telles que jardins et places publiques, qui sont non transportables, impossibles à décomposer, et accessibles au grand public en dehors des institutions artistiques. Notre hypothèse est que la sculpture d’espaces entretient un rapport complexe, mélange d’aspiration, de critique et de réaction, non pas avec l’espace comme un vide neutre, mais avec la spatialité américaine, c’est-à-dire les normes spatiales qui définissent l’ensemble des comportements et orientations, collectifs et individuels, dans la société américaine. L’ambition de la thèse est de démontrer, à travers les examens en détail de chaque projet ainsi que la mise en contexte dans l’architecture, l’urbanisme et la politique culturelle des espaces publics, que l’œuvre de Noguchi n’est pas la fin en soi, mais un moyen pour faire évoluer cette spatialité américaine dominante, expansive et centrifuge, héritière de la conquête de l’Ouest, vers celle plus centripète qui recrée le lien de l’homme avec le lieu, en prenant en compte des éléments environnants et des histoires multiplesThis thesis studies the body of artistic projects by Isamu Noguchi (1904 - 1988) that he termed "sculpture of spaces". They are environmental in situ creations such as gardens and plazas, which cannot be transported, cannot be disassembled, and are accessible to the general public, apart from artistic institutions. Our hypothesis is that there is a complex relationship, made up of aspiration, criticism and reaction, between sculpture of spaces and American spatiality, which is constituted by spatial norms governing all behaviours and orientations, collective or individual, in the American society. The aim of this thesis is to make the case, through a detailed examination of each project, as well as its putting in context with the architecture, urban planning and cultural policy of public spaces, that Noguchi's work is not an end in itself. It proves to be a means to move the dominant American spatiality, expansive and centrifugal, inherited from How the West Was Won, towards a more centripetal one which, by taking into account the multiplicity of environmental and historical elements, reunites man and his location
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Morel, Philippe. "Les décors médicéens à la fin de la Renaissance." Paris, EHESS, 1993. http://www.theses.fr/1993EHES0304.
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Ce travail propose une serie d'analyses de diverses formes de realisations artistiques decoratives, fixes ou ephemeres, concues a rome et a florence pour francois 1er et ferdinand 1er de medicis, essentiellement entre 1575 et 1590. Les modalites du decor sont a la fois materielles et thematiques. Materielles avec des voutes peintes a fresque, des plafonds a caissons ornes de tableaux, des grottes couvertes de substances minerales diversement modelees ou agencees, des structures ephemeres peintes ou sculptees, des decors et costumes de theatre, des allegories vivantes, des automates , etc. Thematiques puisque la these est divisee en quatre sections consacrees au rapport du decor (1) au politique a travers les ideologies territoriales et dynastiques, (2) a la cosmologie (elements, planetes), (3-4) aux sciences de la nature (ornithologie, botanique, mineralogie, teratologie), au collectionnisme eclectique et a la poesie burlesque. Le premier point traite des entrees princieres a florence et a pise, et de leur rapport aux decors fixes. La seconde partie est dediee aux programmes cosmologiques, astrologiques et magiques du palazzo firenze, de la villa medicis (rome) et des intermedes florentins de 1589. Dans la troisieme, il est surtout question de decors lies aux jardins : le stanzino degli uccelli a rome, les grottes de boboli et de pratolino ainsi que leurs automates. C'est aux grotesques qu'est consacree la quatrieme section, a partir du vaste ensemble de la galerie des offices, examine dans sa relation aux kunst-und-wunderkammern, a l'hybride et au monstrueux et au genre litteraire burlesqueThis work presents a series of studies of different forms of artistic decorations, permanent or ephemeral, conceived in rome and in florence for francesco i and ferdinando i de' medici, mainly between 1575 and 1590. The modalities of the decorations are both material and thematic. Material with frescoes, easel or wood-paintings in ceilings, grottoes covere d by mineral substances variably mould or designed, ephemeral structures, settings and costumes, automatons, etc. Thematic since this thesis is divided into four sections dedicated to the relationships of the decoration with (1) the political sphere as seen through territorial and dynastic ideologies, (2) to cosmology (elements, planets), (3-4) to the natural sciences (ornithology, botany, mineralogy, teratology), as well as to eclectical collectionism. The first point deals with princely entries in florence and pisa, and with their relationships to permanent decorations. The seco nd part is dedicated to the cosmological, astrological and magical programs at villa medici and palazzo firenze in rome, and in the florentine intermezzi of 1589. The third section is mainly about gardens : the "stanzino degli uccelli" in ro me and the grottoes of boboli and pratolino with their automatons. The fourth part treats of grotesques, from the large decoration of the uffizi gallery studied in its structural links with the kunst-and-wunderkammern, the hybrid and the monstruous, and the burlesque poetry
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André, Laury Nuria. "Formes et fonctions du paysage dans l'épopée hellénistique et tardive." Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0779.
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Notre travail se propose d'analyser les formes et les fonctions que peut revêtir le paysage dans un corpus de textes épiques posthomériques. Les Argonautiques d'Apollonios de Rhodes et leur réécriture tardive anonyme, les Argonautiques Orphiques, les Posthomériques de Quintus de Smyrne, la Prise d'Ilion de Triphiodore et les Dionysiaques de Nonnos de Panopolis nous offrent un champ d’investigation fructueux pour analyser les représentations littéraires du paysage de manière transhistorique. Nos textes opèrent une première transformation du paysage épique archaïque qui est d'abord l'image du monde avec laquelle il se confond (adéquation posée entre bouclier, île et monde) en détachant de cette équation le paysage pour lui conférer une plus grande autonomie. Le monde devient une mosaïque de paysages autonomes qui gagnent en épaisseur du fait qu'ils se chargent d'une dimension identitaire. La polymorphie du paysage donne alors sa texture mouvante au monde des Grecs : c'est la dimension plastique et artiste que le texte de poésie épique emprunte pour mettre en mots ces images du monde qui révèle les formes du paysage épique. Une diversité de schèmes paysagers émergent et ouvre l'intertexte littéraire à l'hétérogénéité des formes artistiques. De cette fusion de processus et de formes naît une singularité bien antique de perception et de traduction du paysage : la merveille. Paysage et merveille s'entremêlent étroitement au point de se substituer l'un à l'autre : c'est là une définition possible du paysage antique à partir de la période hellénistique. Mais le paysage ainsi identifié et construit appartient aussi au monde dont il contribue à imager la forme. Il est clairement localisé d'un point de vue géographique : image vivante d'une partie du monde il lui offre son identité par ses caractéristiques topiques singulières. Il est une forme d'identification régionale et confine au vernaculaire. Le paysage devient un instrument de promotion intellectuelle et culturelle. Entre diversité formelle et singularité locale, le paysage voyage entre fiction et réel : ses modalités de construction empruntent au littéraire et à l'artistique et s'étendent ensuite grandeur nature. Le genre épique, marqué par l'intertextualité innovante, fait du paysage l'image même du processus de transposition et d'adaptation. Manifestation de l'exercice d'une subjectivité antique singulière puis collective, instrument de mesure du travail de l'imaginaire à l’œuvre dans les processus complexes de réception littéraire et culturelle, le paysage antique entre transmission et invention, s'ouvre à l'expérience quotidienne et sociale. Son existence antique est effectiveThe undertaking of this work is to analyze the forms and functions that the landscape can take in a corpus of posthomeric epic texts. The Argonautica of Apollonius of Rhodes and its late anonymous rewriting The Orphic Argonautica, the Posthomerica of Quintus Smyrnaeus, the Ilioupersis of Triphiodorus, and The Dionysiaca of Nonnus Panopolitanus provide us with a fruitful field of investigation for the analysis of the literary representations of the landscape as transhistorical. Firstly, our texts operate one transformation of the archaic epic landscape that is first the image of the world with which it merges (the conformity placed between shield, island, and world) by separating the landscape from this equation and giving it greater autonomy. The world is a mosaic of autonomous landscapes that gain texture as they take on a dimension of identity. The polymorphism of the landscape then gives its moving texture to the world of the ancient Greeks : the plastic and artist dimension is borrowed by the Epic text to put into words the images of the world, which reveal epic landforms. A variety of landscape patterns emerges and opens the literary intertext to the heterogeneity of artistic forms. From this fusion of process and forms, a singularity arises, a singularity particularly antique of the perception and the translation of the landscape : wonder. Landscape and wonder mingle so narrowly as to substitute one for the other : this is a possible definition of the ancient landscape from the Hellenistic period. But the landscape as thus identified and constructed also belongs to the world the image of which it contributes to form. It is clearly localized in a geographical perspective : the landscape becomes a vivid picture of the world and the former offers the latter its identity by its unique topical characteristics. It is a form of regional identification and it is sometimes confined to the vernacular. The landscape becomes an instrument for intellectual and cultural promotion. Between formal diversity and local singularity, the landscape travels between fiction and reality : its construction methods borrow from the literary and artistic and then extend to nature. The epic genre, characterised by innovative intertextuality, makes the landscape the image of the process of transposition and adaptation. As a manifestation of the exercise of a singular and then a collective ancient subjectivity, the landscape is an instrument for measuring the unfolding of the imagination at work in the complex process of literary reception and cultural transmission ; the ancient landscape between transmission and invention, opens itself up to the everyday and social experience. Its ancient existence is effective
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Ponte, Teresa Cristina Rôssas da. "Estruturas Residencias dos Condes de Pombeiro: O Paço de Belas." Master's thesis, 2013. http://hdl.handle.net/10316/35990.
Full textBooks on the topic "Jardins de sculptures"
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Anne, Pingeot, ed. Sculptures des jardins du Louvre, du Carrousel et des Tuileries. Paris: Éditions de la Réunion des musées nationaux, 1986.
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2
Anne, Pingeot, and Le Normand-Romain Antoinette, eds. Sculptures des jardins du Louvre, du Carrousel et des Tuileries. Paris: Éditions de la Réunion des musées nationaux, 1986.
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3
Brese-Bautier, Geneviève. Sculptures des jardins du Louvre, du Carrousel et des Tuileries. Paris: Editions de la Réunion des musées nationaux, 1986.
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4
Sapieha, Nicolas. Esculturas dos jardins de Queluz: Sculptures in the gardens of Queluz. Lisboa]: Instituto Português do Património Arquitectónico, 1997.
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5
Pierre, Restany, Risset Jacqueline 1936-, Tasset Jean-Marie, and Palais-Royal (Paris France), eds. Arnaldo Pomodoro: Dans les Jardins du Palais-Royal : sculptures 1962-2000. Milano: Skira, 2002.
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6
Little, Carol Morris. A comprehensive guide to outdoor sculpture in Texas. Austin: University of Texas Press, 1996.
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7
Gardens of art: The sculpture park at the Frederik Meijer Gardens. Grand Rapids, Michigan: Frederik Meijer Gardens and Sculpture Park, 2002.
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9
Carric, Jean-François. Versailles: Le jardin des statues. [Paris]: Herscher, 2000.
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10
Mussard, Fred. Gilbert Clain: Le jardin des colosses. Chevagny-sur-Guye, France?]: Orphie, 2007.
Find full textBook chapters on the topic "Jardins de sculptures"
1
Liandrat-Guigues, Suzanne. "Le jardin des sculptures : Shadows, de John Cassavetes." In Les autres arts dans l'art du cinéma, 197–206. Presses universitaires de Rennes, 2007. http://dx.doi.org/10.4000/books.pur.756.
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Labourdette, Régis. "Le jardin des Tuileries : son architecture, ses sculptures, ses promeneurs." In Les arts de la ville dans le projet urbain, 201–9. Presses universitaires François-Rabelais, 2011. http://dx.doi.org/10.4000/books.pufr.169.
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King, James. "Born Again (1922–1931)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0004.
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This chapter details events in Roland Penrose's life from 1922 to 1931. Roland travelled to Paris in 1922. He visited museums, art galleries, the flea market in Saint-Eustache and the Jardin des Plantes by day; by night he was awestruck by the glamour of Pigalle and Montparnasse. He attended at the studio of André Lhote, whose work had become cubist after a stint as a Fauve. Lhote, a native of Bordeaux, learned wood-carving and sculpture from the age of 12, when his father apprenticed him to a local furniture maker to be trained as a sculptor in wood. Through Lhote, Roland became aware of the monumental contributions made by cubism's inventors: Gris, Braque, and especially Picasso. He would marry the mysterious, illusive Valentine Boué on 21 December 1925.
Conference papers on the topic "Jardins de sculptures"
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Fonti, Alessandro. "Le Corbusier and Ariadne." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.957.
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Abstract: From a letter dated 1913 to W. Ritter in which he described the “erotic obsession” which had caused him to depict the statue of the Sleeping Ariadne in the gardens of Versailles as a scantily-clad odalisque in the painting entitled La Versailles du Grand Turc, up to his last graphic project of 1964 entitled “Nassaince du Minotaure II”, the “private mythology” of Le Corbusier’s works was dominated by Minoan-Cretan mythology, to the point that the bull symbol became the unifying principle of his entire pictorial, plastic and architectural work. Dozens of Le Corbusier’s architectural projects include the theme of the labyrinth. The “main ouverte” and Ariadne - la Licorne were intended to “join up” from afar Chandigarh with the Bhakra dam. For the dam Le Corbusier designed architectural elements and he planned to install a copy of the “Ariadne” sculpture, similar in size to the “open hand” at Chandigarh. The Chandigarh-Bhakra complex – the planned city and the hydroelectric infrastructure – was the realization of the global post-war reconstruction plan, an approach devised by Le Corbusier together with the UN’s CIAM, based on the model of the TVA, the New-Deal Federal Agency, which had planned the development of the most backward area in the States starting from hydropower generation. The story is encrypted on the back of the tabernacle at Ronchamp. Resumen: De una carta de fecha 1913 a W. Ritter en el que describía la "obsesión erótica", que le había hecho representar la imagen de la Ariadna dormiente en los jardines de Versalles como una odalisca desnuda en el cuadro titulado La Versalles du Grand Turc, hasta su último proyecto gráfico de 1964 titulado "Nassaince du Minotaure II", la "mitología privada" de las obras de Le Corbusier fue dominado por la mitología minoico-cretense, hasta el punto de que el símbolo del toro se convirtió en el principio unificador de toda su obra pictórica, plástica y arquitectónica. Decenas de proyectos de arquitectura de Le Corbusier incluyen el tema del laberinto. La “main ouverte” y Ariadna - la Licorne estaban destinadas a unirse de lejos Chandigarh con la presa de Bhakra. Para la presa Le Corbusier diseñó elementos arquitectónicos y que planeaba instalar una copia de la escultura "Ariadna", similar en tamaño a la "mano abierta" en Chandigarh. El complejo de ChandigarhBhakra - la ciudad planificada y la infraestructura hidroeléctrica - fue la realización del plan mundial de la reconstrucció posguerra, un enfoque ideado por Le Corbusier, junto con el CIAM de la ONU, basado en el modelo de la TVA, el New-Deal Agencia Federal, que había planeado el desarrollo de la zona más atrasada de los Estados Unidos a partir de la generación de energía hidroeléctrica. La historia está cifrada en la parte posterior del tabernáculo en Ronchamp. Keywords: Minoan-Cretan mythology; Ariadne; Taureaux; hydropower; Chandigarh; Ronchamp. Palabras clave: Mitología minoico-cretense; Ariadna; Taureaux; energía hidroeléctrica; Chandigarh; Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.957