Dissertations / Theses on the topic 'Modern sculptures'

Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.

Thesis (Ph. D.) University of Missouri-Columbia, 2006.
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 August 31, 2007) Vita. Leaves 196-242 are blank. No reproduction of photographs available due to copyright issues. Includes bibliographical references.

Consacrée à l'étude de la sculpture moderne à Paris de 1900 à 1914, cette thèse débute par une description du milieu de l'art à Paris au début du siècle : quartiers de Montmartre et de Montparnasse, académies et ateliers libres, musées, marchands, collectionneurs, critiques d'art et galeries. Dans ce contexte unique au monde, de jeunes artistes, dont certains venus de l'étranger (Archipenko, Boccioni, Brancusi, Csaky, Epstein, Lehmbruck, Lipchitz, Nadelman, Zadkine), tentent d'inventer une nouvelle sculpture en s'affranchissant de Rodin, référence incontournable. Certains (Bernard, Clara, Casanova, Manolo, Nadelman) prennent la voie d'une "modernité teintée de classicisme", s'inspirant de l'art antique. Maillol est un des initiateurs. D'autres (Archipenko, Duchamp-Villon, Gaudier-Brzeska, Epstein, Matisse, Modigliani, Picasso) suivent un chemin plus radical qui les amène vers une sculpture cubiste et primitiviste. Tous contribuent à faire entrer la sculpture dans la modernité. Moins connue que les révolutions du cubisme et de l'abstraction dans la peinture, cette mutation de la sculpture n'en est pas moins majeure
Dedicated to a study of modern sculpture in Paris 1900-1914, this Ph. D dissertation starts with a description of Parisian art world at the turn of the century : districts of Montmartre and Montparnasse, academies and independant school, museums, art dealers, collectors, art critics and art galleries. In this unique place in the world, emerging artists, some of them coming from abroad (Archipenko, Boccioni, Brancusi, Csaky, Epstein, Lehmbruck, Lipchitz, Nadelman, Zadkine), try to invent new sculpture in freeding themself from Rodin, the inevitable reference. Some of them (Bernard, Clara, Casanova, Manolo, Nadelman) take the route "modernity tinted with classicism" inspired by antique art. Maillol is one of the initiators. Others (Archipenko, Duchamp-Villon, Gaudier-Brzeska, Epstein, Matisse, Modigliani, Picasso) follow more radical way which lead them towards cubist and primitivist sculpture. All these artists contribute to drive sculpture into modernity. Less known as cubism and abstract revolution in painting, this transformation in sculpture is though a major event in art

This thesis explores the relationship between poetry and sculpture in the work of W.B. Yeats (1865-1939). I focus on Yeats’s poetical and critical engagement with Celtic Revival statuary, public monuments in Dublin, the coin designs of the Irish Free State, abstract sculpture by the Vorticists and the modernists, and a variety of objets d’art. The thesis shows that beyond constructing vague analogies between sculptural form and poetic form, Yeats’s lifelong engagement with a range of sculptors and sculpture movements led to more nuanced pairings of poetics and sculptural aesthetics. Drawing on archives, letters, contemporary articles and debates, this thesis foregrounds the poet’s engagement with sculptors and art writing on sculpture that have received only partial and fragmentary attention to date. Chapter one traces Yeats’s art school education, where he studied with George Russell and the sculptors Oliver Sheppard and John Hughes, and his imagining of an inter-arts Celtic Revival from 1884 to 1901. Chapter two examines his responses to Dublin public monuments and political readings of sculpture from 1898 to 1925. In chapter three I consider his role in redesigning the Free State coinage and his interest in Carl Milles and Ivan Meštrović, from 1926 to 1928. Chapter four examines Yeats in conversation with the sculpture writing of Henri Gaudier-Brzerska and Ezra Pound that proliferated the modernist ‘little magazines’ of early-twentieth century London, and the poet’s subsequent fascination with Constantin Brancusi. The fifth and final chapter surveys Yeats’s late poetry on sculpture and some of the profounder sculptural-poetic pairings borne from a lifelong interest in the art of sculpture. This project contributes to the intersecting fields of Yeats studies, Irish literary and visual culture studies, and new modernist studies.

This dissertation examines the memorialization of dramatic action in seventeenth-century sculpture, and its implications for the representation of sanctity. Illusions of transformation and animation enhanced the human tendency to respond to three-dimensional images in interpersonal terms, vivifying the commemorative connotations that predominate in contemporary writing on the medium. The first chapter introduces the concept of seeming actuality, a juxtaposition of the affective appeal of real presence and the ideality of the classical statua that appeared in the work of Stefano Maderno, and was enlivened by Gianlorenzo Bernini into paradoxes of permanent instantaneity. This new mystical sculpture was mimetic, not because it depicted events narrated elsewhere, but imitated mutable, time-bound, spiritual activity with arresting immediacy in the here and now. No other form of image could so fully evoke the mingling of human immanence and divine transcendence that was the fundamental basis of sanctity. Chapters Two through Four closely analyze the sculptural construction hagiographic identities for Ludovica Albertoni, Alessandro Sauli, and John of the Cross, and their interplay with political, social, and religious factors. The discovery of connections between marble and wooden statuary further broadens our understanding of the expressive range of the medium. The homology between saintly and sculptural exemplarity reveals a far more dynamic, interactive, and rhetorical conception of the medium than is portrayed in early modern theoretical writings.

Until modernity, the word ‘sculpture’ was used to denote mimetic representations of the human form. From modernity on this term was extended to include new and unusual works that often do not share obvious features with traditional sculpture or even with what we know as art. This thesis is placed in the chronological frame of modern art and examines the meaning and truth of modern sculpture and the ways it is to be understood as a work of art. The thesis is separated into three parts. The first and introductory part explores the way modern sculpture has developed and redefined its status and meaning in the history of art from Rodin until Duchamp and the movements of found art and conceptual art. The aim of the first part is to specify the issue of perception and the function of phenomenology in the understanding of modern sculpture. The second and third parts aim to specify the validity of modern sculpture as art, considering particularly Heidegger’s thinking on the nature of art and the truth of art in the postreligious age of modernity. Specifically, the second part examines Heidegger’s position on the meaning of art after the ‘death of art’ and moreover the place of sculpture in modernity focusing on the theme of homelessness in Rodin’s and Giacometti’s sculpture. The third part examines more closely the way abstract art and specifically the work of Barnett Newman could be seen as a truth revealing, following Heidegger’s criticism of the metaphysics of symbolic and representational art. The thesis argues that the validity of modern sculpture and generally modern art lies in its acknowledgement or, in Heidegger terms, thinking of the homelessness of the human being in modernity and the destitution of modernity, and hence in its revealing of the aspect of the truth and being that has been forgotten.

Ce travail de recherche doctorale tend à définir précisément ce que j’appelle une situation sculpturale, en envisageant le médium de la sculpture, historiquement immobile et pérenne, comme le médium de la rencontre tributaire de temporalités diverses. Pour ce faire, ma pratique plastique a été mon terrain premier d’investigation, au sein duquel j’ai pu tester un certain nombre d’hypothèses, dont certaines se sont concrétisées dans mes sculptures les plus récentes, citées dans ce texte. Aussi, une attention particulière à la sculpture contemporaine m’a permis d’ouvrir plus largement mes prospections, qui se sont aussi nourries de pratiques d’artistes et de pensées théoriques historiques. Mes recherches se sont appuyées sur l’étude du rapport que la sculpture peut entretenir avec la vie quotidienne, et les rapports particuliers au temps que cela peut engendrer, aussi bien dans la conception des œuvres, que dans leur perception. Cette réflexion m’a permise d’aborder la sculpture dans son rapport aux objets du quotidien, que ce soit dans leur introduction directe dans les sculptures, dans leur reproduction, mais aussi dans l’usage. En effet, ce dernier point m’a amenée à établir une typologie de ce que je nomme la sculpture d’usage, dont la fonctionnalité n’est pas la finalité, mais une appréhension possible de l’œuvre
This doctorate research tries to define precisely what I term a sculptural situation considering sculpture – ie historically still & perennial – as the meeting point of multiple temporalities. To elaborate this research I took my artistic pratice as a ground to inquire into. I did test several assumptions which have informed my latest works thereafter described. Furthermore, a greater attention was given to contemporary sculpture so as to open wider perspectives drawn from historical artistic practives & theories. I studied the relationship between sculpture & daily life and most specifically their being time-based experiences, as much during the making of the works as when perceived by a spectator. I was then able to study sculpture in relation to everyday objects : either through the introduction of the later in sculptures themselves or their possible reproduction or even the use that can be made of them. I thus established a typology of what I name usable sculpture, whose functionality is not an end in itself but is nevertheless a possible way of experiencing the work of art

It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.

Cette these a pour but de prouver que les tendances et courants de la sculpture canadienne peuvent servir d'indicateur de la croissance du concept de l'identite nationale au canada de la confederation a nos jours; que ce concept est etroitement lie avec les caracteristiques du canada en tant que pays-avec sa nature et ses paysages, sa faune et sa flore; et qu'une identification intense avec ce canada "primordial" fut, a son tour, la source dont jaillit une sculpture unique et vraiment nationale. La naissance du canada en tant qu'unite politique en 1867, les experiences traumatiques des deux guerres mondiales, et la creation d'une association hautement patriotique de sculpteurs canadiens, poserent ensemble les fondations d'une sculpture canadienne caracteristique vers les annees 1950. Les tendances cosmopolites qui se firent sentir dans la sculpture canadienne vers la fin des annees 1950 et au debut des annees 1960 ne purent empecher le retour a des themes canadiens unificateurs dans les annees 1970, et leur nouvel epanouissement dans les annees 1980
The object of this thesis is to demonstrate that the tendencies and trends of canadian sculpture chronicle the growth of a canadian national identity from confederation in 1867 to the present time; that this concept is intimately bound to the characteristics of canada, her nature, landscapes, fauna and flora; and that an intense identification with this "primordial" canada, in turn became the spring from which flowed a unique and truly national sculpture. This national identity appears in "folk" and "utilitarian" art (part 1, sculpture of aboriginal people; part 2, sculpture in daily life), and in fine arts (part 3. Academic sculpture; part 4, new ways and heritage of the past). A unique canadian sculpture came into its own in the 1950's. The cosmopolitan influence which appeared at the end of that period did not prevent a return to unifying canadian themes in the 1980's

Thesis (M.S.)--University of Missouri-Columbia, 2007.
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 April 10, 2009) Includes bibliographical references.

L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes typique du cubisme le plus reconnu ; le rôle de la pensée dans le processus créatif ; l’intérêt pour le primitivisme conçu en tant qu’emblème d’essentialité et de synthèse de la forme ; le concept d’espace-temps et le désir de contribuer à la combinaison de sculpture et architecture. Il s’agit de points essentiels pour comprendre son adhésion personnelle au cubisme : s’il est difficile de considérer son œuvre en tant que production cubiste orthodoxe, les caractéristiques susmentionnées inscrivent le nom de Duchamp-Villon dans la grande révolution esthétique du début du XXe siècle, qui est tout d’abord une révolution de pensée. Sur la base d’une telle prémisse, cette recherche vise à analyser l’œuvre de Duchamp-Villon à la lumière des nouveautés culturelles et esthétiques du début du XXème siècle, tant par rapport à la sculpture que par rapport à la peinture, dans le but de comprendre si son esthétique représente une traduction des expérimentations picturales du cubisme ou si, au contraire, elle constitue une version personnelle du cubisme en trois dimensions
In the historiography of the second half of the last century the work of Duchamp-Villon is rarely mentioned, just as the history of sculpture is often used as a term of comparison with respect to the better-known area of painting. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. Regarding the latter, some principles of its aesthetic research seem to be fundamental: the simplification of forms, the attention to geometry, the refusal of the typical cubism with facets of the Cubism more recognized; the role of thought in the creative process; the interest for the Primitivism conceived as an emblem of essentiality and synthesis of the form; the concept of space-time and the desire to contribute to the combination of sculpture and architecture. These are to be considered as essential points to understand its personal adhesion with the Cubism: if it is difficult to consider its work as an orthodox cubist production, the above-mentioned characteristics register the name of Duchamp-Villon in the great aesthetic revolution of the beginning of the 20th century, which is first of all a revolution of thought. Based on this premise, this study aims to analyze the work of Duchamp-Villon in light of the cultural and artistic novelties of the early twentieth century in relation to sculpture and painting, so as to understand whether his aesthetics represent a translation of pictorial experimentations of Cubism or whether, on the contrary, it constitutes a personal version of Cubism in three dimensions

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 24, 2010). Thesis advisor: Professor James H. Calvin. Includes bibliographical references.

The ritualistic aspect of Walter Pichler's work greatly problematizes the traditional view of the art object as the locus of aesthetic contemplation. Yet how are we to approach such art in our secularized world? For it to maintain its meaningfulness, does not ritual require a shared symbolic system?
Indirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.

Dès son arrivée à Paris en 1909, jusqu’au déclanchement de la guerre en 1914, Alexander Archipenko réalise environs cinquante sculptures, qu’il présente lors des salons des Indépendants et d’Automne, à l’occasion des manifestations cubistes, ainsi que dans deux expositions personnelles organisées en Allemagne, à Hagen et Berlin. Son nom apparaît souvent dans les comptes-rendus des salons publiés dans la presse de l’époque. Indiqué à la fois comme ‘sculpteur cubiste’ ou ‘novateur élégant’ (à savoir, à l’esprit décoratif), il participe avec son travail à ce croisement de chemins qui caractérise, au début du XXe siècle, le développement de la sculpture moderne. Cependant seulement une partie de cette production majeure est aujourd’hui connue, plusieurs œuvres ayant été dispersées ou retravaillées au cours du temps. Le but de la thèse a été celui de reconstituer ce corpus dans son état d’origine ainsi que son parcours d’exposition, afin de replacer l’œuvre d’Archipenko à l’intérieur de la scène artistique parisienne de l’avant-guerre pour la faire dialoguer avec celle de ses collègues, peintres et sculpteurs. Cela a été possible par le biais d’une analyse formelle pointue et d’un travail croisé sur la presse et les catalogues d’exposition de l’époque, et grâce au dépouillement de plusieurs fonds d’archives. Parmi lesquels, celui de la revue « Der Sturm » (Staatsbibliothek, Berlin), ainsi que les archives de la Archipenko Foundation (Bearsville, NY), et les Archives of American Art (Smithsonian Institution, Washington, D.C.). Il en sort le portrait d’un artiste qui, avec sa recherche, a pleinement embrassé l’esprit de découverte propre à son temps
Between his arrival in Paris in 1909, and the outbreak of World War I in 1914, Alexander Archipenko created nearly fifty sculptures, which he presented at the Salon des Indépendants, the Salon d’Automne, numerous cubist exhibitions, as well as two personal exhibitions organized in Germany (Hagen and Berlin). His name appeared often in the reviews of the Salons that were published in the press. Considered as both a ‘cubist sculptor’ and a ‘novateur élégant’ (in the decorative sense), Archipenko actively participated in both of these artistic currents, which together led to the development of modern sculpture. Despite his importance, only part of his artistic production from this period is generally known today, many of the works were lost or re-worked at a later date. The aim of this thesis is to reconstitute his corpus of work in its original state, as well as document his participation in expositions, in order to place Archipenko’s artwork within the Parisian antebellum artistic scene, and in doing so, create a context in which his work may be compared to that of other sculptors, colleagues, and painters of the epoch. This work is based upon an attentive formal analysis of these works, and thorough review of the exhibition catalogue of the period. And also, by the analysis of different archives, among which the “Der Strum” archives (Staatsbibliothek of Berlin), the Archipenko Foundation’s ones (Bearsville, NY) and those of American Art (Smithsonian Institution, Washington, D.C.). From this research emerges the portrait of an artist who fully embraced the spirit of discovery of his times

La notion de « double contemporanéité » de l’art souhaite s’inscrire dans une démarche plastique et théorique actuelle. Cette notion, aux allures de concept, semble contester le nouvel ordre artistique qui se cache la locution « art contemporain ». En Occident, en Orient, et en Afrique, on parle couramment d’ « art contemporain » pour désigner certaines productions artistiques actuelles. Ainsi, l’expression « art-contemporain : en un seul mot» (Jean-Pierre Cometti) semble être une « logique » artistique. Quels sont les objets que nous rassemblons sous cette expression ? Sur quelles bases objectives peut-on déterminer la « temporalité » de l’objet contemporain ? Face à toutes ces interrogations, cette thèse défend l’ambigüité du terme « contemporain » à travers le concept de la « double contemporanéité » de l’objet d’art. Aujourd’hui, quels types d’objets d’art méritent le qualificatif d’œuvre contemporaine ? Qu’est-ce que le contemporain ? La première partie de cette thèse invite au parcours du scénario d’un « jeu de rôle ». Existe-t-il un rapport entre l’art et le jeu ? Dans ce jeu, je souligne l’usage du terme « contemporain » en ce qu’il peut renvoyer à l’ « anachronisme » des choses. La deuxième partie de la thèse embrasse la notion de « double contemporanéité ». Cette notion se positionne comme un repère. A partir de ce dernier, je situe ma position dans le « monde de l’art ». Depuis mon inclusion, la double contemporanéité se dessine dans la confrontation entre « l’objet modelé » et « l’objet manufacturé ». Cette « hybridation » n’est-elle pas la marque visible d’un art de réconciliation ?
The notion of the “double contemporaneity’’ of art wishes to be part of a current plastic and theoretical approach. This notion, which looks like a concept, seems to challenge the new artistic order that is hidden under the banner of “contemporary art”. In the West, in the East, and in Africa, contemporary art is commonly used to refer to some of today’s artistic productions. Thus, the expression « contemporary-art: in one word » (Jean-Pierre Cometti) seems to be a artistic logic. What are the objects we collect under this expression? On which objective bases can we determine the temporality of the contemporary object? Face with these questions, this thesis defends the ambiguity of the contemporary term through the concept of the « double contemporaneity » of art. Today, what types of artwork deserve the label of contemporary work? What is the contemporary? The first part of this thesis invites to a scenario of a « game of roles ». Is there a relationship between art and game? In this game, I emphasize the use of the contemporary term in what it refers to the “anachronism” of things. The second part of the thesis embraces the concept of the “double contemporaneity”. This notion is positioned as a landmark. From this point of view, I situate my position in the « world of art ». Since my inclusion, the « double contemporaneity » emerges in the confrontation between « the object modeled » and « the manufactured object ». Is not this “hybridization” the visible mark of a reconciliation of art?

Despite present day attitudes and practices in which combinations of photography and other mediums of art are readily accepted, this was rarely the case during the 1960s and 1970s. The pioneering 1970 Museum of Modern Art exhibition Photography into Sculpture, which is the focus of this dissertation, is a compelling exception. Organized by Peter Bunnell, the exhibition highlighted work by twenty-three artists that mixed photographic imagery with three-dimensional forms. The resulting objects often dislocated "straight" photography’s reliance on the image and optical description as its primary source of meaning, characteristics presumed to be fundamental and fixed by many at the time. Bunnell argued that the physicality of the works in Photography into Sculpture made the medium visible and available for critique. This dissertation establishes the archival record and an oral history for the exhibition. It also finds that Bunnell prepared this unorthodox exhibition with John Szarkowski’s endorsement, therefore contradicting enduring views that Szarkowski’s photography program at the Modern promoted a monolithic ideology that did not include experimental modes. Peter Bunnell and Robert Heinecken are the principal figures in Photography into Sculpture. Bunnell, as curator and historian, and Heinecken, as artist and professor of photography at University of California, Los Angeles, were both committed to the idea that the photograph was not only an image but also an object. In public statements they argued that the attention placed on straight photography by many critics and educators discouraged experimentation and excluded an emerging generation of photographers eager to challenge lingering modernist traditions that emphasized the integrity of the image and conventions of display. Both men and their contemporary Nathan Lyons worked from within photography’s established institutions and organizations–including the Museum of Modern Art, George Eastman House, and The Society for Photographic Education–to advocate for alternatives. This dissertation demonstrates that the revolutionary ideas of Bunnell and Heinecken were part of a long rebellion against photographic modernism.

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 multiples
This 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

"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Art." Title from PDF of title page (Georgia Southern University, viewed on February 10, 2010). Marc Moulton, committee chair; Bruce Little, Julie McGuire, Gary Dartt, committee members. Electronic version approved: December 2009. Includes bibliographical references (p. 119-121).

Title from PDF of title page (University of Missouri--Columbia, viewed on March 10, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Thesis advisor: James Calvin. Includes bibliographical references.

Josep Llimona i Bruguera (Barcelona, 1863 - 1934) va ser un dels escultors més destacats de l’art català entorn del 1900. Figura clau de l’art de finals de segle XIX i les primeres dècades del segle XX, la seva presència esdevindria de gran influència a partir d’aquell moment. Amb alguns estudis antics que presentaven clares mancances, la historiografia artística li devia una monografia el més completa possible. La present tesi doctoral mostra un recorregut per tota la vida i l’obra del citat artista, fent un anàlisi de les diverses tipologies que va anar creant al llarg del seu recorregut professional, tant a nivell iconogràfic com compositiu. A més, inclou un catàleg raonat de tota la seva producció que fa referència, no només a la seva vessant com a escultor, sinó que té en compte altres camps en els quals va destacar com a artífex. Aquest primer gran bloc de la tesi queda dividit, doncs, en tres apartats: la vida, l’obra i el catàleg raonat. Pel que fa a l’anàlisi de la producció de l’artista, els punts que la composen són: La figura femenina; Grups: obra monumental i commemorativa. La tipologia del monument commemoratiu; L’escultura relacionada amb l’arquitectura (L’època Art Total, el Gesamtkunstwer wagnerià); Monuments funeraris; Retrats; Arts de l’objecte; Dibuixos. Dins de cada un d’aquests punts van apareixent altres subtemes que esdevenen grans bàsics dins el llenguatge llimonià, com són la religiositat o el tractament de la figura masculina amb una vessant plena d’aires socials. De la mateixa manera s’accentua la rellevància que tingueren altres produccions com són la creació de medalles, joies, peces de vaixelles i els dibuixos. A banda de l’estudi sobre Josep Llimona, que esdevé l’eix vertebrador i el centre de tota la recerca, per primera vegada s’ha plantejat una connexió entre el mestre i els diversos artistes que van anar passant pel seu taller. En aquest sentit es reflexiona, precisament, sobre el concepte del taller: el seu funcionament, l’organització i els rols establerts. D’aquesta mateixa manera, s’observen alguns dels personatges que van tenir contacte directe amb Llimona. Bona part de la generació que va seguir a la del mestre, encara avui, esdevé un misteri dins la historiografia. En aquesta recerca s’obra una finestra cap a l’estudi d’alguns d’aquests creadors, centrant-nos en les figures de tres artistes: Francesc Juventeny i Boix (Montcada i Reixac, 1906 – Cerdanyola del Vallès, 1990), Antoni Ramon González (La Unión, Múrcia, 1908 – Barcelona, 1980) i Margarita Sans Jordi (Barcelona, 1911 – 2006). Uns primers apunts biogràfics i sobre la seva creació esperen potenciar possibles estudis posteriors, al mateix temps que serveixen per crear un enllaç entre aquests diversos artistes.
Josep Llimona i Bruguera (Barcelona, 1863 - 1934) was one of the most important sculptors in Catalonia around 1900. This research studies his life and his production, and includes a catalogue with all Llimona’s pieces which have been found until the moment. In this thesis we analyze some of the themes appearing in Llimona’s works (for example the iconography about female, religion, or workmen) and we discuss about others artistic fields the sculptor worked on besides sculpture. (He created, for example, medals, vases and drawings.) This thesis also explores a part of the generation that was born in the first years of the twentieth century and that had not been studied yet, focusing on some of the artists who worked with Llimona as Francesc Juventeny i Boix (Montcada i Reixac, 1906 – Cerdanyola del Vallès, 1990), Antoni Ramon González (La Unión, Múrcia, 1908 – Barcelona, 1980) and Margarita Sans Jordi (Barcelona, 1911 – 2006).

Cette thèse est une étude du mouvement Cobra à travers les œuvres collectives, une de ses composantes caractéristiques. Il s’agit tout d’abord de comprendre le mouvement, ses origines et influences, ainsi que sa visée d’un art libre, ouvert, expérimental, partie prenante de la vie. Dans un contexte social d’après-guerre, souvent politisé, Cobra défend l’action collective, définie notamment dans les notions d’antispécialisme et d’interspécialisme. Il convient de mettre en exergue les origines de cette pratique, et saisir les divers aspects qu’elle arbore, notamment au travers de revues, d’expositions ou de créations partagées. Le poète Christian Dotremont, animateur et âme de Cobra, favorise le travail de collaboration et contribue à son développement en stimulant les rencontres artistiques. Il se fait le passeur et le permanent "agitateur"» de cette notion. Les peintures-mots qu’il crée avec d’autres artistes participent à sa réflexion majeure sur l’écriture et la peinture. Ce lien interpelle quelques artistes belges comme Pierre Alechinsky, mais il passionne Christian Dotremont qui ne cesse de multiplier les expériences à ce propos, pour aboutir à ce qu’il nomme les logogrammes, remarquable fusion de la peinture et de la poésie, et aboutissement de toute une vie de recherche.

Ce travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.

This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-17T01:15:31Z (GMT). No. of bitstreams: 1 Mello_EduardoBortolottide_M.pdf: 24701423 bytes, checksum: d5a3d14748b8cbbbcbafe292a5148eda (MD5) Previous issue date: 2010
Resumo: Este trabalho tem como objetivo o estudo das articulações do volume que Camargo realizou ao longo de sua obra. Com base em uma afirmação do artista sobre seu próprio trabalho, nós iremos decodificar a linguagem abstrata de Sérgio, revelando as relações volumétricas presentes na obra do artista como por exemplo: equilibrar, tensionar e repousar. Ao longo de toda a sua obra construtiva Sérgio busca uma arte extremamente sensível. Esta característica é a grande contribuição de Sérgio Camargo para a arte brasileira
Abstract: This work has as its aim the study of the volumetric articulations that Camargo developed throughout his oeuvre. Based on an artist statement, we will decode Sérgio's abstract language, revealing the volumetric relations present on the artist's work such as to balance, to tense and to rest, for example. Throughout his whole constructive oeuvre, Sérgio searched for an extremely sensitive art. This aspect is the great contribution from Camargo to brazilian art
Mestrado
Artes Visuais

[ES] La presente tesis doctoral surge como respuesta a la problemática de la destrucción de la memoria histórica de Bosnia y Herzegovina, comenzada con la guerra de 1992 e institucionalizada a través de la legislación de los Acuerdos de Paz de Dayton. Se exponen en ella las causas históricas de esta destrucción y sus consecuencias, tanto las más inmediatas, a saber, la destrucción física del patrimonio del país, como las más remanentes, esto es, la descripción de la historia según las aspiraciones etnonacionalistas que causaron el conflicto. Sobre estos hechos, se ha hecho un estudio doble: por una parte, una investigación histórica hasta la actualidad sobre la escultura de Bosnia y Herzegovina, de la cual la figura de Alija Kucukalic destaca como máximo exponente y como prueba de que la tradición escultórica de Bosnia y Herzegovina tiene una evolución clara hacia la modernidad; por otra, un conjunto de propuestas prácticas que han permitido divulgar la obra artística y el legado cultural del escultor Alija Kucukalic, con el fin de exponer la importancia que tuvo su trabajo, tanto escultórico como pedagógico, para el desarrollo artístico de Bosnia y Herzegovina. En particular, la revisión política e histórica de Bosnia y Herzegovina realizada en esta investigación ha permitido mostrar que las ideologías etnonacionalistas que se han respetado en los Acuerdos de Paz de Dayton, según el cual Bosnia y Herzegovina ha quedado dividida en dos Entidades, una de etnia serbia, y otra de mayoría de etnia bosnia y croata, suponen un impedimento absoluto tanto en el avance de la cultura como en la misma preservación de la misma. Afirmando los Acuerdos de Paz de Dayton que los ciudadanos de Bosnia y Herzegovina forman tres pueblos constituyentes, y dejando el gobierno de las instituciones culturales a las Entidades, divididas según las etnias mayoritarias de las respectivas zonas, la cultura en Bosnia y Herzegovina depende de acuerdos entre las tres divisiones étnicas del país, cuyos desacuerdos fueron el origen del último conflicto. Sobre este contexto político, el caso particular de Alija Kucukalic se ve en una suerte de ostracismo, en tanto que es un artista al que no se puede adscribir a ninguna de las ideologías políticas vigentes en el país, sino que su obra representa a todo el pueblo bosnio por igual. Este hecho favorece el progresivo deterioro de su obra, que hasta la realización de esta tesis doctoral estaba totalmente olvidada por parte de las instituciones de Bosnia y Herzegovina. En concreto, Alija Kucukalic fue asesinado durante la guerra como parte de la estrategia de elitocidio que constaba en el asesinato individual y en masas de las élites intelectuales de Bosnia y Herzegovina, su obra fue robada y destruida durante la guerra, su atelier del escultor invadido, y en la actualidad, el vacío legal que dejaron los Acuerdos de Paz de Dayton sobre el cuidado del patrimonio cultural ha provocado que el vandalismo se apodere de la obra pública de Alija Kucukalic. Como solución a este problema, se ha demostrado con la presente tesis doctoral que es necesario llevar a cabo acciones de salvaguardia del legado cultural y artístico de Alija Kucukalic , mediante la justificación de que con su obra Bosnia y Herzegovina adquirió renombre artístico internacional y de que con su labor pedagógica como profesor de escultura en la Academia (Facultad) de Bellas Artes de Sarajevo, de la que fue fundador, la tradición artística del país renació y sigue creciendo. Esta justificación se ha reforzado con el mencionado conjunto completo de actividades prácticas, que han tenido como resultados más importantes la apertura de la Fundación Atelier Memorial Alija Kucukalic, unida a la recuperación del atelier del escultor y a la primera exposición póstuma de su obra, y el inicio del proyecto de restauración de la obra de Alija Kucukalic, que ha comenzado con la restauración del parque memorial Vra
[CA] La present tesi doctoral sorgeix com a resposta a la problemàtica de la destrucció de la memòria històrica de Bòsnia i Hercegovina, començada amb la guerra de 1992 i institucionalitzada en la legislació dels Acords de Pau de Dayton. S'exposen les causes històriques d'aquesta destrucció i les seues conseqüències, tant les més immediates, és a dir, la destrucció física del patrimoni del país, com les més romanents, això és, la descripció de la història segons les aspiracions ètnic-nacionalistes que van causar el conflicte. Sobre aquests fets, s'ha fet un estudi doble: d'una banda, una recerca històrica fins a l'actualitat sobre l'escultura de Bòsnia i Hercegovina, de la qual la figura d'Alija Kucukalic destaca com a màxim exponent i com a prova que la tradició escultòrica de Bòsnia i Hercegovina té una evolució clara cap a la modernitat; de l'altra, un conjunt de propostes pràctiques que permeten divulgar l'obra artística i el llegat cultural de l'escultor Alija Kucukalic, per tal d'exposar la importància que va tindre el seu treball, tant escultòric com pedagògic, per al desenvolupament artístic de Bòsnia i Hercegovina. Concretament, la revisió política i històrica de Bòsnia i Hercegovina realitzada en aquesta investigació mostra que les ideologies ètnic-nacionalistes que s'han respectat en els Acords de Pau de Dayton, segons els quals el país ha quedat dividit en dues Entitats, una d'ètnia sèrbia, i una altra d'ètnia bosniana i croata, suposen un impediment absolut tant en l'avanç de la cultura com en la mateixa preservació d'aquesta. Afirmant els Acords de Pau de Dayton que els ciutadans de Bòsnia i Hercegovina formen tres pobles constituents, i cedint el govern de les institucions culturals a les entitats, dividides segons les ètnies majoritàries de les respectives zones, la cultura a Bòsnia i Hercegovina depèn d'acords entre les tres divisions ètniques del país, els desacords dels quals van ser l'origen de l'últim conflicte. En aquest context polític, el cas particular d'Alija Kucukalic es veu en una mena d'ostracisme, en tant que és un artista a qui no es pot adscriure a cap de les ideologies polítiques vigents al país, sinó que la seua obra afirma a tot el poble bosnià per igual. Aquest fet afavoreix la progressiva deterioració de la seua obra, que fins a la realització d'aquesta tesi estava totalment oblidada per part de les institucions de Bòsnia i Hercegovina. En concret, Alija Kucukalic va ser assassinat durant la guerra com a part de l'estratègia d'elitocidi que constava en l'assassinat individual i en masses de les elits intel·lectuals de Bòsnia i Hercegovina, la seua obra va ser robada i destruïda durant la guerra; el seu atelier de l'escultor, envaït; i en l'actualitat, el buit legal que van deixar els Acords de Pau de Dayton sobre la cura del patrimoni cultural ha provocat que el vandalisme s'apoderi de l'obra pública d'Alija Kucukalic. Com a solució a aquest problema, s'ha demostrat amb la present tesi doctoral que cal dur a terme accions de salvaguarda del llegat cultural i artístic d'Alija Kucukalic, mitjançant la justificació que amb la seua obra Bòsnia i Hercegovina va adquirir renom artístic internacional i que amb el seu trevall pedagògic com a professor d'escultura a l'Acadèmia de Belles Arts de Sarajevo, de la qual va ser fundador, la tradició artística del país va renéixer i segueix creixent. Aquesta justificació s'ha reforçat amb l'esmentat conjunt complet d'activitats pràctiques, que han tingut com a resultats més importants l'obertura de la Fundació Atelier Memorial Alija Kucukalic, unida a la recuperació de l'atelier de l'escultor i a la primera exposició pòstuma de la seua obra, i el inici del projecte de restauració de l'obra d'Alija Kucukalic, que ha començat amb la restauració de parc memorial Vraca, a Sarajevo, símbol d'unió nacional contra el feixisme.
[EN] The following doctoral thesis arises as a response to the problem of the destruction of the historical memory of Bosnia and Herzegovina, which began with the war of 1992 and got institutionalized in the legislation of the Dayton Peace Agreement. The historical causes of this destruction and its consequences are exposed, both the most immediate, namely, the physical destruction of the country's heritage, and the most remaining: the description of history according to the ethno-nationalist aspirations that caused the conflict. On these facts, a double study has been made: on the one hand, a historical research to date on the sculpture of Bosnia and Herzegovina, of which Alija Kucukalic stands out as the greatest exponent in the second half of the 20th century and as a proof that the sculptural tradition of Bosnia and Herzegovina has a clear evolution towards modernity; on the other hand, a set of practical proposals that made possible the dissemination of the artistic work and cultural legacy of the sculptor Alija Kucukalic, in order to expose the importance that his sculptural and pedagogical work had for the artistic development of Bosnia and Herzegovina. In particular, the political and historical review of Bosnia and Herzegovina carried out in this research shows that the ethno-nationalist ideologies respected in the Dayton Peace Agreement, according to which the country has been divided into two Entities, one of Serbian ethnicity and another of Bosnian and Croatian ethnic groups, represent an absolute impediment both in the advancement of culture and in its preservation. By affirming the Dayton Peace Agreement that the citizens of Bosnia and Herzegovina form three constituent peoples and handing over the control of cultural Institutions to the Entities, which are divided according to the ethnic groups of their respective areas, culture in Bosnia and Herzegovina depends on agreements between the three ethnic divisions of the country, whose disagreements originated the last conflict. Within this political context, the case of AlijaKucukalic is found in a kind of ostracism, being he an artist who cannot be related to any of the political ideologies in force in the country, but whose work rather affirms the whole Bosnian people alike. This fact favors the progressive deterioration of his artworks, which until the completion of this thesis was totally forgotten by the Institutions of Bosnia and Herzegovina. Specifically, Alija Kucukalic was assassinated at the beginning of the siege of Sarajevo as part of the elitocide strategy that consisted of the individual and mass murder of Bosnian intellectual elites; his work was stolen and destroyed during the war; his atelier, invaded; and at present the legal loophole left by the Dayton Peace Agreement on the care of cultural heritage has caused vandalism to seize his public work. As a solution to this problem, it is shown the need to carry out actions to safeguard the cultural and artistic legacy of Alija Kucukalic, by justifying that with his work Bosnia and Herzegovina acquired international artistic renown and that with his pedagogical work as a Professor of Sculpture at the Sarajevo Academy of Fine Arts, of which he was a founder, the country's artistic tradition was reborn and continues to grow. This justification has been reinforced with the aforementioned practical work, whose most important results are the legal constitution and registration of a cultural entity in the form of the Atelier Memorial Alija Kucukalic Foundation, joined to the recovery of the sculptor's atelier and the first posthumous exhibition of his work, everything focused on the lasting safeguarding of the memory of the sculptor Alija Kucukalic and his work, as well as on the protection of his works and his copyright; and the start of the restoration project of the artwork of Alija Kucukalic, which has begun with the restoration of the Vraca memorial park in Sarajevo, symbol of national union against fascism.
Kucukalic Ibrahimovic, L. (2021). Alija Kucukalic: El legado de uno de los clásicos de la escultura moderna de Bosnia y Herzegovina [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/171587
TESIS

This thesis explores the epistemic structures of late seventeenth- and eighteenth-century migrating image-makers with a particular regard for producers of sculpture. By means of an analysis of journals written by the sculptor Franz Ertinger (1669 – 1747) and the glazier Jacques-Louis Ménétra (1738-c.1803) this thesis identifies an epistemic order which was contingent on the worlds of mobility of seventeenth- and eighteenth-century craftsmen. In order to advance the understanding of how artisan image-makers of this period acquired, organised and developed knowledge, the concept of a cognitive tool-box is introduced. Examining a number of cognitive tools, i. e. epistemic strategies, the thesis constructs an interpretative framework through which itinerant artisans were potentially able to derive meanings from situations, objects and communities which were unfamiliar or culturally different in some ways. Due to the emphasis on cognitive aspects, the thesis‟s principal method can be described as an epistemological history of art, taking into consideration historically specific mechanisms of interpretation, exchange and knowledge organisation, such as the building of unwritten archives of artisan histories. The thesis also addresses questions surrounding the identities of migrating craftsmen and suggests the existence of a “Republic of Tools”, tracing the career of one of its highly mobile citizens, the sculptor Johann Eckstein (1735-1817).

Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.

This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.

Orientador: Luciano Migliaccio
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-17T13:16:17Z (GMT). No. of bitstreams: 1 Silva_MariadoCarmoCoutoda_D.pdf: 88905634 bytes, checksum: 83b1638fc2dd25fabb53042dce9158cb (MD5) Previous issue date: 2011
Resumo: Nossa tese de doutorado tem por objetivo contribuir para 0 conhecimento acerca da historia da arte brasileira do final do século XIX e começo do XX, por meio da analise de obras e dos momentos que marcaram a trajetória do escultor Rodolfo Bernardelli (1852-1931). O jovem aluno da Academia Imperial de Belas Artes começa a ganhar destaque no cenário das artes nacionais a partir da sua participação nas Exposições Gerais de Belas Artes, na década de 1870. Apos um período de estudo na Europa, o artista retornou ao Brasil em 1885 e por seus trabalhos realizados no exterior, foi denominado pela critica como artista moderno, recebendo as principais encomendas monumentais da época. Bernardelli foi o principal escultor da primeira década republicana no Brasil e Primeira Republica e atuou como diretor da Escola Nacional de Belas Artes - ENBA, por cerca de 25 anos.
Abstract: Our aim in this thesis is to contribute to the knowledge of the history of Brazilian Art between the end of the 19th century and the beginning of the 20th century through the study of the works and the life moments of the sculptor Rodolfo Bernardelli (1852-1931). The young pupil of the Imperial Academy of Fine Arts begun to gain attention from the national art realm after his participations, along the 187 O's, at General Fine Arts Exhibitions. In 1885, after a period of studies in Europe, the artist returned to Brazil and was then acclaimed as a modern artist by the critics because of the pieces produced abroad. He then received the main monumental commissions of the period. Bernardelli was the main sculptor of Brazil during the first decade of the Republic and was the director of the National School of Fine Arts - ENBA, during almost 25 years.
Doutorado
Historia da Arte
Doutor em História

This essay explores public monuments and memorials raised in dedication to historic women in the Swedish cities of Uppsala, Gävle and Västerås. Through the reception aesthetic method, the chosen works of art are analysed from a gender perspective. The overall history of public sculpture in Sweden, including the female nude sculptures, is examined closely, where the monuments and memorials which have been raised in dedication to historic men are compared to those raised in dedication for historic women. The range of artworks vary from traditional monument to modern and postmodern aestethics. The importance of figurative representation is the main focus of this study, and the purpose is to convey how women are represented in the monuments spatial situation and how it varies from the male sculptural representation.

Esta tesis da una visión sintética de las diferentes corrientes escultóricas internacionales que confluyen en el panorama actual español. Una vez contextualizada nuestra joven escultura se pasa a estudiar las reacciones individuales concretas de nuestros escultores, dejando claro que estos análisis individuales son solo una fase de la metodología sin que constituyan una finalidad por sí mismos. A través del análisis de las posiciones individuales se detectan una serie de planteamientos que rebasan las posturas particulares concretas y que se expresan mediante unos "ejes de discusión". Estos ejes se organizan como estructuras bipolares que asocian determinadas posiciones opuestas o antagónicas en un esfuerzo notable por deshacerse del concepto de "negación de lo anterior" como finalidad. Con esta intención revisa el arte conceptual español y constata la permanencia de alguno de sus postulados en la segunda mitad de la década de los 80, una vez superada la fase de pura negación del concepto en los primeros años de la actual década. Con la misma vocación positiva se cuestiona conceptos tales como proceso y proyecto, mostrándonos el primero como una línea descompositiva tendente al signo elemental, mientras que nos presenta el proyecto como afirmación, posterior al proceso, en la cual tiene cabida la expresión de lo complejo. Relaciona tal énfasis de lo complejo con el carácter ecléctico del actual panorama.

For a long time, Roman ideal sculptures have primarily been studied within the tradition of Kopienkritik. Owing to some of the theoretical assumptions tied to this practice, several important aspects of Roman visual culture have been neglected as the overall aim of such research has been to gain new knowledge regarding assumed Classical and Hellenistic models. This thesis is a collection of three studies on Roman ideal sculpture. The articles share three general aims: 1. To show that the practice of Kopienkritik has, so far, not produced convincing interpretations of the sculpture types and motifs discussed. 2. To show that aspects of the methodology tied to the practice of Kopienkritik (thorough examination and comparison of physical forms in sculptures) can, and should, be used to gain insights other than those concerning hypothetical Classical and Hellenistic model images. 3. To present new interpretations of the sculpture types and motifs studied, interpretations which emphasize their role and importance within Roman visual culture. The first article shows that reputed, post-Antique restorations may have an unexpected—and unwanted—impact on the study of ancient sculptures. This is examined by tracing the impact that a restored motif ("Satyrs with cymbals") has had on the study of an ancient sculpture type: the satyr ascribed to the two-figure group "The invitation to the dance". The second article presents and interprets a sculpture type which had previously gone unnoticed—The satyrs of "The Palazzo Massimo-type". The type is interpreted as a variant of "The Marsyas in the forum", a motif that was well known within the Roman cultural context. The third article examines how, and why, two motifs known from Classical models were changed in an eclectic fashion once they had been incorporated into Roman visual culture. The motifs concerned are kalathiskos dancers, which were transformed into Victoriae, and pyrrhic dancers, which were also reinterpreted as mythological figures—the curetes.

At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Accepted. Paper 3: Accepted.

La thèse établit l’histoire comparative des différents Sacri Monti italiens dans un but précis : étudier la transformation d’ « architectures » qui étaient des copies de lieux vides de Terre Sainte en vastes cycles chronologiques animés de nombreuses peintures et statues. Les nécessités religieuses de ces sites définissent un rapport original entre les arts qui donne la première place aux statues : on l’appellera « paragone chrétien ». La statuaire y est exceptionnellement didactique et propre à susciter les émotions. Didactique : les Sacri Monti mettent progressivement en place une statuaire narrative. Propre à susciter les émotions : ces terres cuites polychromes à grandeur sont « vivantes » au point d’incarner les scènes. À la fois familiers et exotiques, variés et récurrents, les très nombreux personnages des chapelles composent souvent des types singulièrement outrés. Leur beauté et surtout leur laideur cruelle et difforme, doit être utile : s’appuyant sur une lecture physiognomonique des scènes, le pèlerinage (guidé) aux Sacri Monti constitue une catharsis chrétienne
This dissertation examines the history of the Italian Sacri Monti from a comparative perspective. The main objective is to understand how “architectures” that were copies of void monuments from the Holy Land were transformed into large chronological cycles animated through the use of numerous paintings and statues. The religious motivations of these sites define a specific relationship between the different art forms, one that emphasizes sculpture and which can be characterized as a “Christian paragone”. Statuary is particularly didactic and emotional. It is didactic in the sense that the Sacri Monti serve to stage a narrative statuary It is also emotional since the life-sized and polychrome terracotta sculptures are so “alive” that they seem to be performing the scenes. The many characters in the chapels are both familiar and exotic, diverse and repetitive. They constitute types that often look strangely outraged. Their beauty but also their cruel and deformed ugliness serve a didactic purpose: grounded on a physiognomic reading of the scenes, the (guided) pilgrimage to the Sacri Monti mediates a Christian catharsis

A partir del momento en que el escultor entiende su obra como un elemento trascendente, donde la imagen que crea adquiere una vocación de transmisión de ideas, aparece un comportamiento donde la reflexión sobre los mecanismos de creación y las consecuencias expresivas, que se derivan de este hecho, fundamentan el quehacer artístico. Este trabajo se centra, precisamente, en este tema: el de la relación entre la teoría y la práctica en la escultura y concretamente en el ámbito de la escultura catalana contemporánea. El tema de la relación entre la teoría y la práctica se ha enfocado desde la articulación de tres conceptos que fundamentan el trabajo artístico: proceso, materia y comportamiento. Proceso, materia y comportamiento sirven para efectuar un recorrido por las propuestas de la escultura contemporánea, referenciándolas con las actitudes y las formas que se desarrollan en la escultura catalana.

This thesis investigates Dalí’s adoption of religious iconography to help represent themes that he had conceptualised through Surrealism, psychoanalysis and other thought systems. His selective use of sources was closely bound to his life circumstances, and I integrate biographical details in my analysis of his paintings. I identify unexpected sources of Dalí's images, and demonstrate how alert he was to the psychological motivations of traditional art. I find he made especial use of the iconography of martyrdom – and the perceptual and cognitive mechanics of the contemplation of death – that foreground the problem of the sexual and mortal self. Part I examines the period 1925-7, when Dalí developed an aesthetic outlook in dialogue with Lorca, formulated in his text, 'Sant Sebastià'. Representations of Sebastian and other martyr saints provided patterns for Dalí's exposition of the generative and degenerating self. In three chapters, based on three paintings, I plot the shift in Dalí's focus from the surface of the physical body – wilfully resistant to emotional engagement, and with classical statuary as a model – to its problematic interior, vulnerable to forces of desire and corruption. This section shows how Dalí's engagement with religious art paradoxically brought him into alignment with Surrealism. In Part II, I contend that many of the familiar images of Dalí’s Surrealist period – in which he considered the self as a fundamentally psychic rather than physical entity – can be traced to the iconography of contemplative saints, particularly Jerome. Through the prism of this re-interpretation, I consider Jerome's task of transcribing Biblical meaning in the context of psychoanalytical theories of cultural production. In Part III, I show how Dalí's later, overt use of religious imagery evolved from within his Surrealism. I trace a condensed, personalised life-narrative through Dalí’s paintings of 1948-52, based on Biblical mythology, but compatible with psychoanalytical theory: from birth to death to an ideal return to the mother's body.

@Tout au long de cette thèse, l'éducation muséale a fait l'objet d'une étude suivant trois axes: son évolution, son utilité, son influence. Les musées sont en pleine mutation depuis une dizaine d'années et leur mission est de plus en plus orientée vers une pédagogie artistique, dont les enfants sont les premiers bénéficiaires. Après un tour d'horizon des musées et des institutions culturelles français, une comparaison est faite avec les musées en Egypte, pays d'origine du chercheur. La sculpture colorée est au centre de la recherche dans la mesure où elle a été l'aboutissement de l'expérience réalisée avec des enfants de CM2. Les deux classes étudiées différaient sur plusieurs points, notamment le milieu social, mais l'investissement après la visite au musée a été le même pour tous. Le résultat a été très positif : des sculptures très personnelles dont chacun pouvait être fier. Pour ces sculptures, nous avons utilisé trois techniques : cire, grillage et béton cellulaire qui correspondent aux techniques utilisées au Musée des Beaux-Arts de Rennes. L'impact de l'éducation muséale sur le travail des enfants est analysé scientifiquement dans ce cas précis. La présente recherche démontre que ce genre d'action pédagogique nécessitant la collaboration des éducateurs et des artistes pourrait se généraliser dans les années à venir. L'effet bénéfique sur les enfants est certain ; de plus, on peut raisonnablement penser que ces actions pourraient être à l'origine de l'émergence de nouveaux talents, qui n'auraient peut-être pas trouvé le moyen de se révéler autrement
@Throughout this thesis, the museum education has been studied into three parts: its evolution, its useful purpose, its influence. For ten years now, the museums' aim has been changing into an educational way from which the children profit by first. After a survey of French museums and cultural institutions, a comparison is made with museums in Egypt, the native country of the researcher. The colored sculpture is the principal subject of this research because it was the result of an experience realized with five grade's children. The two classes concerned were different on several points, for example social background, but they all had the same pleasure in working on the subject. The result has been globally positive: the children were very proud of their own sculptures. Three techniques have been used to make these sculptures: wax, mesh and concrete which correspond to the techniques used in the Musée des Beaux-Arts de Rennes. The impact of museum education on children's work in this case has been scientifically analysed. This research demonstrates that this kind of pedagogic work with educators and artists could be more present in the future. It really had a good influence on these children; what's more, we can reasonably think that talented children might be discovered, who couldn't have been showed otherwise

Este trabajo de investigación plantea una relación entre los puentes y su historia, estructura y funcionalidad, su análisis estético formal y la escultura. Como método de aproximación se utiliza una doble vía: la via histórica, mediante un recorrido por los puentes de todas las épocas, poniendo en paralelo la evolución formal de los mismos con los materiales y tecnologías utilizados. A la vez, se intercalan, de manera comparativa, propuestas escultóricas que se aproximan al lenguaje de los puentes por analogía. No se marcan límites temporales ni tampoco espaciales, entendiendo que el lenguaje de los puentes es un lenguaje universal. La vía analítica se resuelve con una propuesta que parte de tres ámbitos de conocimiento perceptivo, interpretativo y gráfico; para concluir con la conceptualización de categorías visuales que son susceptibles de ser aplicadas a una lectura estético-formal de los puentes. La mayor aportación de este estudio se desprende de la amplitud de sus objetivos, lo que deja caminos abiertos, pero también un recorrido iniciado del que destacaría las siguientes aportaciones: el planteamiento interdisciplinar, la sistematización, la propuesta de metodología y la conexión interdisciplinar.

The aim of the competition work is to design the Museum of Modern Art in the cultural part of the city of Beirut. The Museum of Modern Art will take up a historical and symbolic site across from the National Museum in the Achrafieh district of Beirut. The Museum will be a dynamic contemporary place true to its social and cultural responsibilities. It will acknowledge the historical significance of the site and its adjoining institutions, providing a connective fabric across the city’s divide.