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Dissertations / Theses on the topic 'Painting Art and literature'
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Van, Pletzen Ermina Dorothea. "The language of painting in nineteenth-century English fiction." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21770.
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Bibliography: pages 322-332.<br>This thesis examines the material and aesthetic sustenance which the novel as developing genre drew from the burgeoning popular interest in the visual arts, particularly the pictorial arts, which took place during the course of the nineteenth century in Britain. The first chapter develops the concept of the language of painting which for the purposes of the thesis refers to the linguistic transactions occurring between word and pictorial image when writers on art formulate their impressions in language. This type of discourse is described as governed by conceptual repetition and firmly established techniques of ekphrasis, as well as by indirect and peripheral modes of reference, not to the concrete stylistic features of the works of art under consideration, but to their effect on the viewer, the metaphors they call to mind, and the processes which can be inferred about their conception. The first chapter also gives a survey of the most important thematic strains and structural developments which had been imported into literature by the end of the eighteenth century. A chapter is then dedicated to each of five nineteenth-century novelists, Jane Austen, William Makepeace Thackeray, Charlotte Bronte, George Eliot, and Henry James, mapping out their individual grasp and knowledge of pictorial art in their particular circumstances, their experience of the art world, and the extent to which their experience of art is mediated by current painterly discourses. Each chapter next considers how pictorial material is appropriated in these novelists' fiction and whether the fiction draws structural support and meaning from pictorial concepts. The thesis furthermore investigates the inverse question of how the fiction itself becomes a context which not only reflects, but also shapes and alters inherited languages of painting. The second chapter approaches Austen's social satire against the background of the aesthetic traditions which she inherits from the eighteenth century. It is argued that her own novelistic aesthetic gains more from the discourses surrounding the practice of picturesque landscape appreciation (and related forms) than from Reynolds's doctrine of the general and ideal dominating the mid to late eighteenth century.
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Slobtseva, Yelena. "DRAWING IN THE MARGINS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162849860.
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Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.
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Cordy, Raven. "Making Christian Art in a Contemporary Setting." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.
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Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my identity and my interests should be rooted in my relationship with God. Upon this reflection, I began looking for ways to make Christian art in a contemporary setting that could also be accepted by those who do not share my faith.
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Ingram, Seth. "The Extraordinary Double Body: Images in Literature, Art, and on the Sideshow Stage." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1323292411.
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Connor, Laura. "Frameworks: The Limits of Perception and Representation in Spanish Narrative and Painting, 1880-1920." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11486.
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Realism is a mode of representation that purports to depict contemporary society objectively and in its entirety. By contrast, modernist artists are often regarded as having turned away from external reality to represent subjective states and to emphasize the artistic (versus mimetic) qualities of art. Building on recent scholarship that has demonstrated that Spanish realist authors were mindful of the limitations of the realist project, this study examines frames as devices through which both realist and modernist authors and artists working in fin-de-siècle Spain signal the limits of perception and representation.<br>Romance Languages and Literatures
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Sierra, Nicole Marquita. "Literature, architecture, and postmodernity : Donald Barthelme and J.G. Ballard." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:909bff3c-6eea-46a6-9c7f-72d52b9d43ee.
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Focusing on works between the 1960s and the early ’80s, this thesis sets the literature of Donald Barthelme (1931–1989) and J.G. Ballard (1930–2009) within the context of twentieth-century architectural theory and history (written), design (drawn), productions (built), professional practice (managed), and pedagogy (taught). The primary aim of this study is to explore the discursive exchange between literature and architecture, while probing the putative association between postmodernity and architecture. By introducing a broader set of social phenomena into debates about postmodernity, my thesis enables a revaluation of how the architectural idiom is interpreted in literature. Using textual and visual analysis, this thesis argues that Barthelme’s and Ballard’s literary works operate at an intersection of the visual arts and mass media. Responding to American and European twentieth-century visual avant-gardes and socio-cultural transformations, architecture participates in the formulation of avant-garde conceptual frameworks. Critically, architecture is not only an aesthetic discipline; it is also a social discourse. Through the discipline’s alignment with ‘new’ and ‘old’ avant-gardes, Barthelme and Ballard use architecture as a point of creative departure to undertake formal and thematic literary experiments. For both authors, contact with the architectural avant-garde has literary consequences. This thesis considers four interconnecting ways literature and architecture ‘speak’ to each other: representation, discourse, formal comparisons, and influence or inspiration. Within my study these topics are examined through critical meditations on architecture from geographical (Fredric Jameson, David Harvey), architectural (Robert Venturi, Charles Jencks) and visual cultural (W. J. T. Mitchell, Marshall McLuhan) sources. Also figuring prominently are epitextual materials, especially archival documentation from the Donald Barthelme Literary Papers at the University of Houston and the Papers of J. G. Ballard collection at the British Library. This thesis opens up new ways of understanding the interart pluralism that characterises the postmodern.
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Robertson, Sarah M. "L'art et l'amour à Travers un Amour de Swann de Marcel Proust." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/882.
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The esteemed French author, Marcel Proust, revolutionized the way that literature fuses with visual art. Through the detail of his novella Un Amour de Swann, Proust creates a world in which the idolatry of a painting destines one man to a life void of fulfillment in love. This thesis explores the intrinsic connection of painting and literature to love through Proust’s treatment of the Botticelli fresco, Les Épreuves de Moïse, and the carefully crafted lesson that Proust teaches to integrate art into the fabric of life. Proust’s advice reaches far beyond the constraints of his own words, and through an analysis of Austrian painter Gustav Klimt’s The Kiss, Proustian guidance is brought to a universal scale. For Proust, art truly was a way of life, this thesis seeks to embody just that.
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Keresztély, Kata. "Peinture de fiction : une tradition arabe médiévale." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH180/document.
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Dans les ouvrages contemporains traitant des arts visuels dans la tradition artistique 'chrétienne' ou 'occidentale' les analyses des œuvres d'art sont souvent effectuées à l'appui d'une approche interdisciplinaire intégrant les méthodes de recherche et les questionnements des sciences sociales ainsi que d'autres disciplines, comme la littérature. Sur se modèle, je tente d’élaborer une méthode de recherche complexe pour l’appliquer dans l’étude de l’iconographie arabe médiévale. Les sources principales de mon travail sont les manuscrits iconographiés de deux 'bestsellers' de la littérature arabe médiévale : les Maqâmât d'al-Harîrî et la traduction arabe de Kalîla wa Dimna de Bîdpây, copiés et peints, pour les premiers au XIIIe siècle, et, pour les seconds, au XIVe siècle, respectivement en Irak, en Syrie et en Egypte. Pour étudier les manuscrits, je propose une approche dont le leitmotiv est l'observation de la relation entre les textes et les images en les considérant comme un ensemble et comme éléments qui constituent des œuvres d'art complexes. Les manuscrits médiévaux contenant des images deviennent ainsi, en tant qu'objets matériels mais aussi comme des produits intellectuels et artistiques, des sources primaires de l’histoire intellectuelle arabe médiévale<br>In contemporary studies dealing with visual art within the « Western » or « Christian » world, the artworks’ analysis are often proposed on the basis of an interdisciplinary approach integrating methods of different scientific fields such as social sciences, and literature. Following this model, I try to develop a complex method in order to study medieval Arabic iconography. My work’s principal sources are the illustrated manuscripts of the two « bestsellers » of medieval Arabic literature: al-Harîrî’s Maqâmât and the Arabic translation of Bîdpây’s tales, the Kalîla wa Dimna, copied and painted during the second half of the 13th and the first half of the 14th centuries in Irak, Syria and Egypt. In the analysis of the manuscripts, I concentrate on the relationship between text and images while I consider them as elements of a complex artwork, as a whole. While doing so, medieval manuscripts containing images become primary sources of Arabic intellectual history as material objects but also as intellectual products
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.
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Ragazzi, Alexandre. "Os modelos plásticos auxiliares e suas funções entre os pintores italianos = com a catalogação das passagens relativas ao tema extraídas da literatura artística." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280014.
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Orientador: Luiz Cesar Marques Filho<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-17T07:36:06Z (GMT). No. of bitstreams: 1
Ragazzi_Alexandre_D.pdf: 130803920 bytes, checksum: c31f1fe5f72d513ab06d0886a0f294cb (MD5)
Previous issue date: 2010<br>Resumo: Procedimento surgido na Itália central durante o Quatrocentos, o uso de modelos plásticos auxiliares estava entre as diversas etapas que compunham o longo processo de realização de uma pintura. Essa prática artística consistia na elaboração de estatuetas de argila ou cera que deveriam atuar como modelos para o pintor. Podiam ser vestidos ou não, utilizados como figuras isoladas ou em uma composição. Devido aos frágeis materiais com os quais eram feitos e ao desinteresse dos contemporâneos em preservá-los pouquíssimos resistiram à ação do tempo, e os meios agora disponíveis para atestar sua existência são sobretudo a análise de pinturas e desenhos, de inventários e da literatura artística. Com efeito, embora dispersos, há um grande número de testemunhos a respeito dessa prática nos escritos sobre arte, e através desses registros é possível compreender as funções e o valor atribuídos a esses modelos no processo criativo dos pintores. O momento de maior difusão dessa prática parece ter se dado durante o século XVI. Os testemunhos existentes apontam para um uso disseminado de tais modelos entre os artistas italianos, tanto em ambiente romano-toscano quanto setentrional. Entretanto, a partir do final daquele século também é possível perceber que seu emprego começou a ser questionado, ora sendo incentivado, ora reprovado. A análise desse período, portanto, oferece a possibilidade de demarcar essa prática artística e, ao mesmo tempo, aquilatar sua extensão e seu alcance.<br>Abstract: Procedure emerged in central Italy during the Quattrocento, the use of auxiliary plastic models was among the various stages that made up the long process of creating a painting. This practice consisted in developing artistic figurines of clay or wax, which should act as models for the painter. They could be dressed up or not, used as isolated figures or in a composition. Due to the fragile materials with which they were made and the lack of interest of the contemporaries in preserving them, just a few could resist the action of time, and the resources now available to attest to their existence are primarily the analysis of paintings and drawings, of inventories and of the artistic literature. Actually, although sparse, there are a lot of testimonies about this practice in the writings on art, and through these records it is possible to understand the functions and the value attributed to these models in the creative process of painters. The moment of greatest diffusion of this practice seems to have taken place during the sixteenth century. The existing evidences point to a widespread use of such models among Italian artists, both in central and northern Italy. However, from the end of the century it is also possible to notice that this practice came into question, sometimes being encouraged and sometimes disapproved. The analysis of this period, therefore, offers the possibility of demarcating this artistic practice and, at the same time, assessing its extent and scope.<br>Doutorado<br>Doutor em História
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Hegenberg, Ivan Alexander. "Clarice Lispector e os limites da linguagem: uma leitura interdisciplinar do romance Água viva." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-26082016-125348/.
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O presente estudo volta-se ao romance Água Viva, publicado em 1973 por Clarice Lispector, compreendido como exercício de radicalização da linguagem sob influência do pensamento pictórico, no qual o rastro material do processo e a possibilidade de uma expressão não-verbal entram em questão. Será desenvolvida uma discussão sobre o romance enquanto gênero literário, que se desdobrará em uma comparação entre as linguagens literária e pictórica, suscitada pelas constantes sugestões ao universo da pintura presentes em Água Viva. Ao se estabelecer um embate entre crítica literária e crítica de arte visual, serão analisadas as tensões entre arte e realidade nos projetos estéticos da contemporaneidade, por meio de uma comparação entre o romance de nosso recorte e expressões artísticas consolidadas na década de 70, como o minimalismo, a arte-processo e a arte conceitual, que, ao colocar a pintura em xeque, desencadearam um amplo ataque ao ilusionismo. A análise do objeto deverá nos mostrar de que maneira os debates em torno da chamada morte da pintura auxiliam a compreender os movimentos dialéticos de Clarice Lispector, alternando afirmação e negação da arte em uma de suas obras de maior experimentação. É nesse contexto que será lido Água Viva, romance que se dispõe a refletir com complexidade sobre a crise das representações.<br>The present study is an approach to the novel Água Viva, published in 1973 by Clarice Lispector; it is understood as a radicalization of language under the influence of pictorial thought, in which the material trace of the process and the possibility of nonverbal expression are at stake. A discussion about novel as a literary genre will be developed; this will unfold into a comparison between literary and pictorial languages, implied by the constant suggestions regarding the universe of painting present in Água Viva. The confrontation of literary critic and visual arts critic settles an analysis of the tension between art and reality in the contemporary aesthetics projects, by means of a comparison between the novel in view and the consolidated art expressions from the 70s, like minimalism, process-art and conceptual art, which, challenging painting, triggered a comprehensive attack upon illusionism. The analysis of the object may show us how the debates about the so called death of the painting can aid in the understanding of Clarice Lispectors dialectic movements, in which art acceptance and denial take turns in one of her major works of experimentation. It is within this context that Agua Viva will be read, a novel that is willing to plunge with high complexity upon the crisis of representation.
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Santos, Aline Magalhães dos. "O pintar literário nos Escritos sobre a arte, de Émile Zola." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-14032017-142624/.
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Emile Zola é conhecido por sua carreira como romancista, mas sua iniciação como escritor deu-se também como crítico de arte entre as décadas de 1860 a 1896, anos nos quais o escritor frequentou os ateliês de célebres pintores, cafés e os Salões. A partir da análise dos artigos de jornal presente na compilação Escritos sobre a arte, o trabalho tem por objetivo mostrar como a relação com os pintores impressionistas leva Zola a utilizar os procedimentos picturais desse movimento para descrever os quadros expostos nos Salões de 1866 a 1880. Na primeira parte do trabalho, será apresentado um panorama dos Salões e a gênese desse gênero novo por Denis Diderot, as questões levantadas por Charles Baudelaire em seus escritos sobre a arte e a influência de ambas as críticas para a construção do método de análise de Zola. A segunda parte do trabalho visa apresentar as questões levantadas pelo crítico no que diz respeito à escolha do júri que selecionava as obras, o momento artístico e sua teoria estética. A questão principal deste trabalho será discutida detalhadamente na terceira parte deste trabalho, em que o objetivo principal será identificar os procedimentos pictóricos impressionistas nas análises de Zola e os desdobramentos dessas técnicas na produção da sua crítica de arte.<br>Émile Zola is known for his novelist career, but his initiation happened as an art critic between the years 1860 and 1896, in which he attended renowned painters\' studios, cafés and the Salons. Starting from the analysis on newspapers articles, found in the compilation Writings on Art, this dissertation intends to show how Zolas relation with Impressionist painters made him use this movement\'s pictorial proceedings in order to analyze the pictures exposed in 1866 and 1880 Salons and create narratives from such descriptions. In the first part, an overview about these Salons shall be introduced, as well as this new genre\'s genesis by Denis Diderot, the matters discussed by Charles Baudelaire in his writings on art, and the weight of both these critical modes to Zola\'s own analysis method. The second part aims to introduce the issues he raised concerning the choosing of the jury responsible for selecting works, the artistic moment, and his aesthetic theory. This researchs main point shall be discussed minutely in the third part, whose main goal is to identify the Impressionists pictorial procedures in Zolas analysis and this techniques deployment in his making of critics on art.
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Gervais, de Lafond Delphine. "Shakespeare et les peintres français au XIXè siècle." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3105.
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Shakespeare est partout en ce XIXe siècle. Il inspire la littérature, la musique, les arts plastiques. Il est dans l'accomplissement d'un nouveau théâtre et dans le rêve d'une génération d'artistes qui se jette à corps perdu dans un nouvel idéal. Que cherchent-ils alors dans l'infamie des sorcières, les procrastinations d'un jeune prince, le désarroi d'un vieux roi, l'interdit de l'amour ? Ils s'en vont rêver à d'autres univers, peuplés de créatures fantastiques, d'hommes au cœur vrai et de folles passions. Et dans ce début de siècle comme le dit Stendhal au détour d'une pensée dédiée au dramaturge anglais : « il faut sentir et non savoir ! ». L'objectif de la présente étude est de poser les bases d'une réflexion approfondie sur l'inspiration shakespearienne française en peinture au XIXe siècle. Nous nous sommes attachés à en déterminer les causes et en identifier les manifestations, mais aussi à l'englober dans une histoire plus générale de l'art à travers la remise en question d'un genre pictural menacé, la peinture d'histoire. C'est pourquoi notre travail s'articule autour de cinq grandes parties afin d'offrir un examen complet et synthétique du sujet. La première partie a pour but d'initier le lecteur à cette inspiration littéraire. Les trois parties suivantes sont consacrées à l'étude approfondie des différentes sources d'inspiration des peintres (textuelles, visuelles et iconographiques). Enfin, après la mise en place contextuelle, l'exploration iconographique et iconologique de notre sujet, notre dernière partie tend à analyser le rôle qu'a joué en France l'inspiration shakespearienne en peinture à travers plusieurs approches : esthétique, critique et idéologique<br>The name of Shakespeare overhangs the 19th century. The English playwright inspires literature, music and fine arts. He is closely associated with theatre renewal and becomes a model for a generation of artists. What are they looking for in the witches' infamy, the procrastination of a young prince, the distress of an old king, forbidden romances? They dream of other universes crowded with fantastic creatures and passionate human beings. In the beginning of this century, as Stendhal pointed out in a note dedicated to The Bard : “We need to feel rather than to know”. The aim of the research herein is to analyse the Shakespearean inspiration on French painting over the 19th century through a discussion which deals with iconographical and aesthetic concerns as well. To be as relevant as possible, we chose to organize our work in five parts in order to offer a global and complete view of the subject. Thus, the first part of our dissertation tends to initiate the reader to the Shakespearean iconography in general, while the following third parts explore the painter's different sources of inspiration (textual, visual and iconographical). Finally, the fifth part is devoted to the examination of the role played by this literary inspiration on French painting through intellectual, critical and ideological approaches
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Sakka, Louisa. "THE POWER OF MUSIC : A comparative study of literature and vase paintings from Classical Athens." Thesis, Uppsala University, Department of Archaeology and Ancient History, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-120184.
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<p>This paper deals with ancient Greek music, and in particular the relation of people to music during the fifth century BC in Athens. Music is believed to exercise great power over the human character and behavior, and at the same time is a means of emotional communication. For the first time during the fifth century, the power of music leaves the realm of the myths and becomes a subject of philosophical investigation. Two different types of sources are examined in order to study the relation of people to music: on the one hand the literary sources of this period, and on the other the vase paintings. This method reveals various attitudes towards music by using two different perspectives. Possible explanations are given for the differing information, the purpose of each source being a decisive factor.</p><p>The paper suggests that although the information from the two types of sources varies and can even be contradictive, the recognition of the power music exercises is obvious in both cases .</p>
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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist.
This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
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Asif, Noor A. "Women Surrealists: Muses or Seekers?" Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/826.
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Surrealism has often been labeled as a misogynistic movement that sought to provide man with an avenue into a higher reality at the expense of the humanity of women. By perceiving the opposite sex as their muses, Surrealist men rendered women as mysterious sources of the marvelous, the name given to the higher realm, which they desired to attain. I propose that Surrealist women were empowered by the fact that ‘woman’, as an abstract concept, and femininity were synonymous with the marvelous. This entailed that Surrealist women had the advantage of being “sources of revelation, as provokers of wonder, dreams, and freedom,” whose intellectual agency allowed them to delve into their own femininity in order to attain the higher reality that Surrealism was devoted to unlocking. In contrast from Surrealist men who relied on the image of woman to lead them to this superior realm, Surrealist women were able to look within themselves in order to comprehend the marvelous. Conversely, Surrealist women often reversed the idea of the muse, by exploring their feminine unconscious through the objectification of men.
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Mathias, Manon Hefin. "'Apprendre à voir' : the quest for insight in George Sand's novels." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2987dce0-0e41-4d32-9da8-35b3c8284703.
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This thesis examines the novels of George Sand (1804-1876) and analyses representative examples from her entire œuvre. Its overall aim is to re-evaluate Sand’s standing as a writer of intellectual interest and importance by demonstrating that she is engaging with a cultural and intellectual phenomenon of particular relevance to the nineteenth century: the link between different ways of seeing and knowledge or understanding, which I term ‘insight’. The visual dimension of Sand’s novels has so far been overlooked or reduced to a rose-tinted view of the world, and my study is the first to examine vision in her work. I argue that Sand demonstrates a continuous commitment to ways of engaging with the world in visual terms, incorporating conceptual seeing, prophetic vision, as well as physical eyesight. Contesting the prevailing critical view of Sand’s œuvre as one which declines into blandness and irrelevance after the 1850s, this thesis uncovers a model of expansion in her writing, as she moves from her focus on the personal in her early novels, privileging internal vision, to wider social concerns in her middle period in which she aims to reconfigure reality, to her final period in which she advocates the physical observation of the natural world. Rejecting the perception of Sand as a writer of sentiment at the expense of thought, this study argues that her writing constitutes a continuous quest for understanding, both of the physical world and the more abstract, eternal ‘vérité’. I show that Sand transcends binary divisions between science and art, the detail and the whole, the material and the abstract, and that she ultimately promotes a multidisciplinary approach to understanding the world. This also enables me to reassess Sand’s poetics by arguing that her rejection of the mimetic model is founded on her conception of the world as multiple and constantly evolving.
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Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.
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This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.
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Gatty, Fiona K. A. "Ideal beauty in late eighteenth- and early nineteenth-century French art and art criticism with special reference to the role of drapery and costume." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9c3f5f9e-0a0c-4c1e-a7c1-62ed972cfd12.
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Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau idéal' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau idéal' in French art and aesthetics has also not been fully explored. This thesis examines the way in which costume and drapery formed an important component and embodiment of ideal beauty in the work of Winckelmann and in late eighteenth- and early nineteenth-century French artistic circles, providing new insights into the arguments over the meanings of Truth, Beauty and Nature in this period. The thesis proposes that ideal beauty in late eighteenth- and early nineteenth- century France was conveyed in works of art through the accurate rendering of costume and the expressive qualities of drapery in combination with the perfect form and contour of the nude body. The first part of the thesis sets up a proposition that costume and drapery formed part of the definition of ideal beauty in the work of Winckelmann. Highlighting the significance of Winckelmann's work on costume and drapery in French art theory, it demonstrates how the definition of ideal beauty in France also incorporated the accurate rendering of costume and the aesthetic impact of drapery. In demonstrating the significance of costume and drapery to both Winckelmann and French theorists it is proposed that the application of a meta-historical approach of costume and drapery to French art theory can provide new understandings and readings of the definition of ideal beauty, the hierarchy of the genres and the broader aesthetic concerns of late eighteenth- and early nineteenth- century French art. The second part of the thesis applies the proposed hermeneutic of costume and drapery to a small selection of theoretical work on the nature of ideal beauty and on a significant collection of Salon criticism. With this approach to the primary material this thesis demonstrates how French artists were able to express the 'beau idéal' within the traditional academic conventions and hierarchies, and negotiate the sense of public unease over the use of nudity in contemporary art.
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Ulysse, Sterlin. "Problématique de l'autre : écriture et peinture haïtiennes en question." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20073.
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Les premiers discours sur l’art en Haïti ont été envisagés à partir de la question de l’autre. Il s’agissait de savoir comment la littérature aiderait à définir une identité haïtienne. Ce travail interroge la littérature et la peinture sur la problématique de l’autre, l’autre du dedans, où l’altérité se joue entre les membres d’une même société. Les productions artistiques et culturelles populaires sont analysées à travers le prisme de l’art naïf qui est à la base de la réflexion sur le rapport entre littérature et peinture. Dans un premier temps, les représentations du monde rural par le mouvement indigéniste sont explorées dans les discours littéraires et picturaux, afin de voir si la pratique a su répondre aux objectifs théoriques énoncés par les penseurs du mouvement. Dans un second temps, le dialogue entre la littérature et peinture est traité à partir de plusieurs points de vue : culturel, social, esthétique, en nous appuyant sur les romans suivants, La contrainte de l’inachevé d’Anthony Phelps, L’Énigme du retour de Dany Laferrière et Yanvalou pour Charly de Lyonel Trouillot. Tandis qu’en peinture nos analyses se réfèrent aux toiles de André Normil, Wilson Bigaud, Wilbert Laurent ou Pétion Savain, entre autres<br>The first writings on art in Haiti were based on the questioning of otherness - the aim was to know how literature could help define a Haitian identity. This dissertation uses literature and painting to explore this issue of otherness – an otherness inside, in which otherness lies between the members of a same society. The popular artistic and cultural productions are analyzed through the perspective of Naïve Art which gives birth to this reflection on the interaction between literature and painting. The representations of the rural world by the indigenous movement are first explored in literary and pictorial works, in order to see if practice could match the theoretical objectives established by the thinkers of the movement. The dialogue between literature and painting is then explored through several perspectives – cultural, social, esthetic ones, while studying the following novels, La contrainte de l’inachevé by Anthony Phelps, L’Énigme du retour by Dany Laferrière and Yanvalou pour Charly by Lyonel Trouillot. In painting, our analyses notably refer to the works of André Normil, Wilson Bigaud, Wilbert Laurent or Pétion Savain among others
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David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.
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Hutton-Williams, Francis Brent. "Irish cultural politics, Thomas McGreevy and the Avant-Garde, 1922-1941." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:c6fbe4ba-3908-4e45-a012-00fa766cd1eb.
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This thesis analyses the responses of Irish writers and painters to a phase of national self-assertion that had arguably lost its liberating potential. It shows how the exhaustion of revolutionary pressures in Ireland after independence complicates the ties between creative activity and political activism. Drawing on a wide range of scholarship within political theory, literary criticism and art history, I chart an emerging network of literary and artistic techniques that confronts the representational aesthetics of the nation with strategies of paradox, reversal and renewal. My readings of the work of Denis Devlin, Samuel Beckett, James Joyce, Mainie Jellett, Jack Butler Yeats and, in particular, Thomas McGreevy, provide a means by which to distinguish other cultural possibilities that were imagined and pursued from 1922 to 1941, including McGreevy’s own aspiration to remould 'A Cultural Irish Republic'. The thesis argues that Ireland's political and artistic avant-garde were forcibly divided during this period: two factions that had been split apart by the effects of civil war and censorship. As such it will be preoccupied with a central question: how to sustain cultural strategies of revolutionary significance when the frontier between creative activity and political activism can no longer be straightforwardly crossed.
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Spingou, Foteini. "Words and artworks in the twelfth century and beyond : the thirteenth-century manuscript Marcianus gr. 524 and the twelfth-century dedicatory epigrams on works of art." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:bd537f93-ab26-4a0c-8ee3-658da343effa.
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The thesis is divided into three sections. The first section discusses the manuscript Marcianus graecus 524, the second looks at the Greek text of the dedicatory epigrams on works of art from the same manuscript, and the third puts these texts in their context. In the first part, the compilation of the manuscript is analysed. I suggest that the manuscript was copied mainly by one individual scribe living in Constantinople at the end of the thirteenth century. He copied the quires individually, but at some point he put all these quires together, added new quires, and compiled an anthology of poetry. The scribe’s connection to the Planudean School and the Petra monastery in Constantinople is discussed. Although their relationship remains inconclusive, the manuscript provides evidence regarding the literary interests of late-thirteenth-century intellectuals. The second part contains thirty-five unpublished dedicatory epigrams on works of art. New readings are offered for the text of previously published epigrams. The third section analyses the dedicatory epigrams on works of art in their context. The first chapter of this section discusses the epigrams as Gebrauchstexte, i.e. texts with a practical use. The difference between epigrams intended to be inscribed and epigrams intended to be performed is highlighted. In the next chapter of this part, La poésie de l’objet, the composition of the dedicatory epigrams is discussed. The conventional character of the epigrams suggests that the poetics express the ritual aspect of the epigram. The last chapter considers the texts from a more pragmatic angle. After a short discussion of the objects on which the epigrams were written, the mechanisms of the twelfth-century art market are presented based on evidence taken mainly from the epigrams. At the end of this part, conclusions are drawn on the understanding of these texts in the twelfth century.
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Gibbs, Judith. "Exploring beyond boundaries : a study of the late-period paintings and writing of D.H. Lawrence." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272263.
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Souffrin, Paul. "Raymond Queneau, les peintres et la peinture." Paris 3, 2008. http://www.theses.fr/2008PA030025.
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Poète et romancier, Raymond Queneau était aussi peintre. Peu de spécialistes de Queneau se sont penchés sur cet aspect de son oeuvre. Quelles circonstances l’ont amené à peindre ? Son enfance havraise a joué le rôle de déclencheur. Très tôt et avant même d’écrire, il a dessiné et peint. À une période de sa vie, devant l’insuccès de ses oeuvres littéraires, il a pensé faire une carrière de peintre. Il a fréquenté les musées et rencontré de très grands peintres (Miró, Dali, Picasso, Chaissac, Lascaux, Hélion, Prassinos et Dubuffet). Malgré son goût pour la peinture et son amitié pour de nombreux artistes, il est resté écrivain et a cessé assez vite de poursuivre sa carrière de peintre tout en continuant à peindre en amateur. Comme ses écrits critiques sur la peinture, ses toiles sont originales et constituent le fruit d’une réflexion profonde sur les interférences entre littérature et peinture. La présence de l’art et des artistes, tant dans son oeuvre poétique que romanesque, et l’influence de peintres-écrivains servent à éclairer ces interférences. Préfaces et correspondances nous apprennent que Queneau n’était pas un critique d’art traditionnel. Nous montrons les influences qu’il a subies, les peintres qu’il a copiés voire pastichés. Nous recensons sa production picturale malgré la difficulté d’un classement chronologique : il datait très rarement ses gouaches ou ses aquarelles et les titrait aussi peu. Enfin, nous étudions l’influence de l’amateur d’art sur ses illustrateurs et sur son fils peintre et la continuité de sa pensée qu’assurent les recherches de l’Oupeinpo même si Queneau est aujourd’hui surtout reconnu comme un des grands écrivains du XXe siècle<br>Poet and novelist, Raymond Queneau was also a painter. He was born in Le Havre on february 21, 1903, the only child of two haberdashers. What circumstances brought him to paint ? He grew up under the watchful eye of an over protecting mother. He said he complained of a lack of love during his childhood. After his baccalaureat he went to Paris with his parents and he studied at the Sorbonne and met the surrealist group. He began to frequent the Central Bureau of Surrealist Research. He met the most famous painters of the century. At a time, as he did not earn enough money with his novels he thought he could try to be a painter. He visited a lot of museums, was a friend ofMiro, Helion, Labisse, Chaissac and Dubuffet. Noël Arnaud wrote “Queneau is one with whom one can talk about painting”. As a fact, he drew and painted as a young child before he could read and write. He subscribed at the ABC School whose program was “If you can write you are able draw!”. Very few of the Queneau’s specialists have been interested by this part of his work. None of his numerous foreign translaters were. Himself recognised as soon as 1950, that his pictures where not good enough to make him an important artist, but in his poems and novels (especially The Blue flowers) he introduces a great number of painters, famous or not. Nowadays he his really recognised as one of the most important writers of the XXth century
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Stitt, Amber C. "American Images of Childhood in an Age of Educational and Social Reform, 1870-1915." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1364908854.
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Pallas, Basile. "De la vue au regard : littérature et photographies au XIXe siècle." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30055.
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Au XIXe siècle, la photographie est vue comme une image vraie. Produite mécaniquement, elle serait la copie fidèle de la réalité, ce qui justifie la croyance en la vérité de ses images. Dès les premiers discours tenus à son égard, la photographie apparaît comme une image transparente, ne donnant rien d’autre à voir que la réalité, ce qui explique notamment les postures de rejet généralement adoptées par les écrivains et les artistes face à cette image, antithèse de l’art. Notre travail s’efforce de montrer comment, à l’inverse, la photographie a été, dans les textes littéraires en particulier, rendue à sa visibilité, c’est-à-dire à sa nature de vraie image. Pour cela, nous déterminons comment le phénomène optique de l’aberration, qui suppose une déformation de l’image plus ou moins visible, rend compte d’une pensée s’attachant à concevoir la photographie comme vectrice de troubles dans sa représentation. Nous examinons alors différentes manifestations de ces phénomènes dans la littérature, qui sont liées à une conscience de la matérialité des images, de leur mode de fabrication particulier, mais aussi de leurs défauts, opacifiant ce qu’elles représentent. L’attention de certains écrivains portée à ce que nous appelons la dimension photographique des photographies ouvre des pistes multiples sur la poétique des textes et situe le modèle photographique dans un ailleurs du réalisme. La réflexion sur la photographie dans les textes permet également de mesurer les conséquences d’une croyance en la vérité des images, croyance qui se révèle, à différents niveaux, comme aberrante. En effet, le fantasme d’une visibilité parfaite n’a pas seulement été appréhendé comme un moyen de mesure rationnelle du monde. La visibilité accrue et excessive de la photographie révèle au contraire ce que la réalité a de plus étrange et de plus inquiétant. Dans les textes, le modèle photographique éclaire alors une représentation fantastique du monde, lorsque celui-ci s’ouvre aux fantasmes et aux hallucinations. Nous tentons de cerner, à travers des œuvres littéraires et photographiques variées (Nerval, Champfleury, Nadar, Maupassant, Geffroy, Rachilde, Bonnetain, etc…) les différents phénomènes qui apparaissent comme les principaux agents de déréalisation de l’image photographique<br>In the nineteenth century, photographs are first seen as true images. Produced mechanically, they would be the faithful copy of reality. This justified the belief in the truth of photographic images. From the earliest speeches made about it, photographs appeared as transparent images, giving nothing more to see than reality. This explains the postures of rejection generally adopted by writers and artists in the face of the photographic image, seen as the antithesis of art. Our work tries to show how, on the contrary, photography has been rendered in literary texts, to its visibility, that is, to its nature as a true image. To do this, we determine how the optical phenomenon of aberration, which is a deformation of the image, accounts for a line of thought which tries to conceive of photography as a vector of disturbances in its representation of reality. We then examine different manifestations of this phenomenon in literature. They are linked to a growing awareness of the materiality of the images and their particular mode of manufacture, but also of the defects opacifying what they represent. The attention given by certain writers to what we call the “photographic dimension” of photographs opens up multiple avenues to the poetics of texts and situates the photographic model beyond realism. The inquiry on photography in texts also makes it possible to measure the consequences of a belief in the truth of images, a belief that reveals itself, at different levels, as aberrant. Indeed, the fantasy of perfect visibility has not been apprehended only as a means of rational measurement of the world. The increased and excessive visibility of photography reveals, on the contrary, what is strangest and most disturbing in reality. The photographic model illuminates a fantastical representation of the world’s fantasies and hallucinations. The different phenomena studied then appear as the principal agents of derealization of the photographic image
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Gassin, Alexia. "L’œuvre de Vladimir Nabokov dans le contexte de la culture et de l’art allemands à l’époque de l’expressionnisme." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040225.
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Les études nabokoviennes témoignent de la tendance à laisser de côté la possibilité de l’influence de la culture allemande sur l’œuvre de Nabokov. Ce principe est surtout né des propos mêmes de l’écrivain qui insista à maintes reprises sur le fait que, bien qu’il vécût en Allemagne, il ne savait pas parler allemand et évitait tout contact avec l’univers allemand. Il est vrai que l’émigration russe à Berlin représentait un État dans l’État. Cependant, les frontières entre les mondes russe et allemand n’étaient pas si étanches. Nabokov passa quinze ans à Berlin et ses livres furent traduits et publiés en allemand par une maison d’édition allemande. Des projets d’adaptation à l’écran de ses œuvres se présentèrent plusieurs fois, en particulier pour le roman Roi, dame, valet. Parmi ses œuvres composées à Berlin se trouvent au moins deux romans, Roi, dame, valet et Chambre obscure ainsi qu’une série de nouvelles décrivant l’univers allemand. Tout cela contribue à supposer que le principe établi au sujet de l’ignorance de l’influence allemande sur son œuvre n’est pas si incontestable. Notre travail a pour objectif de lire l’œuvre de Nabokov dans le contexte de l’art allemand contemporain, notamment de l’esthétique expressionniste dont nous étudions trois thèmes majeurs : la déformation du psychisme humain conduisant au dédoublement de soi, l’ambivalence de l’image féminine et la représentation de la grande ville. Un examen approfondi permet de découvrir des liens avec le cinéma muet et la peinture. Le présent travail vise à introduire un nouveau niveau de lecture des œuvres de Nabokov et à reconstruire le contexte culturel berlinois dans lequel ces dernières furent créées<br>The Nabokov studies have tended to ignore the possible influence of the German culture on Nabokov’s works. This position springs from the writer’s often quoted words, which stress that, although he lived in Germany, he could not speak German and avoided any intercourse with the German world. Russian emigration certainly constituted a state within the state but the borders between the Russian and German worlds were not so impenetrable. Nabokov spent fifteen years in Berlin and his books were translated and published in German by a German publishing house. There were several projects for screen adaptations of his works, in particular for the novel King, Queen, Knave. While in Berlin, he wrote at least two novels, King, Queen, Knave and Kamera Obskura (Laughter in the Dark for the revisited version by Nabokov), and a series of short stories which describe the German world. All this undermines the principle established about the ignorance of German influence.Our thesis aims at reading Nabokov’s works in the context of the German contemporary art, in particular Expressionist aesthetics. We consider three major issues, namely the distortion of the psyche, which leads to an inner division of the self, the ambivalence of the female figure and the representation of the big city. Thus an extensive analysis allows us to reveal links with German silent cinema and with painting which had eluded researchers so far. The present work aims at introducing a new dimension in the reading of Nabokov’s works and at restoring them to the cultural context of Berlin in which they were created
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Painesi, Anastasia. "Du récit à la représentation : la transposition de sujets de la littérature grecque antique dans l’art gréco-romain et la peinture occidentale (XVe-XIXe siècles). Le cas de la Punition Divine." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040150.
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La punition divine est un phénomène récurrent dans la mythologie grecque. L’hybris, commise par des individus vaniteux et orgueilleux aspirant à se comparer aux dieux ou même à se succéder à eux à la domination du Cosmos, provoque une série de châtiments atroces, imposés par les Olympiens à des hommes et à des femmes, à des humains et à des êtres mythiques, à des héros, à des rois et même à d’autres dieux sans discrimination. L’étude actuelle examine l’iconographie de divers types de châtiment divin dans l’art gréco-romain et la peinture occidentale (XVe-XIXe siècles). Elle analyse l’interaction entre les œuvres d’art et les sources littéraires antiques, médiévales et modernes, ainsi que les points communs remarqués entre les thèmes antiques du châtiment divin et certains épisodes bibliques ou chevaleresques. Elle se focalise enfin sur l’influence que l’iconographie de la punition divine antique a exercée sur la politique, la société et la religion aussi bien dans l’Antiquité qu’à l’époque moderne<br>Divine punishment constitutes a recurrent phenomenon in Greek mythology. The hubristic behaviour of vain and selfish individuals, who aspire either to compare themselves to the gods or to succeed them to the domination of the Cosmos, provokes a series of atrocious tortures inflicted by the Olympians to men and women, to humans and mythical creatures, to heroes, kings and even to other gods equally.The present PhD study examines the iconography of a variety of types of Divine Punishment in the Greek and Roman art and the occidental painting (15th-19th centuries). It analyses the interaction between the various works of art and the ancient, mediaeval and modern literary sources. It pinpoints the resemblances between the ancient themes and certain biblical or chivalrous episodes. It focuses finally on the influence wielded by the iconography of divine punishment in politics, society and religion, both in Antiquity and in modern times
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Domin, Jacqueline. "Painting perceptions /." Online version of thesis, 1990. http://hdl.handle.net/1850/10902.
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Oggero, Elisa. "Une cinématographie et une scénographie d’avant-garde : Carlo Levi et le cinéma (1930-1950)." Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1036.
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Ces dernières années, la production littéraire et artistique de Carlo Levi a fait l’objet d’études approfondies et de nombreuses publications. Cependant, une partie de son œuvre a été négligée par la critique et notamment son activité de scénographe, de scénariste et de cinéaste. La collaboration de Carlo Levi avec l’industrie cinématographique commence au début des années trente et se poursuit jusqu’au début des années cinquante. Pendant ces années, Levi a l’occasion de collaborer non seulement avec des artistes comme Enrico Paulucci, Italo Cremona et Carlo Mollino, avec qui il réalise les scénographies de Patatrac et de Pietro Micca, mais aussi avec des hommes de lettres tels que Mario Soldati, Rocco Scotellaro et Alberto Moravia. Cette étude vise à reconstruire le parcours cinématographique de Carlo Levi en s’appuyant sur des documents d’archives de nature et de provenance différente : des scénarios, des synopsis, des story-boards mais aussi des contrats commerciaux, pour la plupart inédits. Sa production filmique couvre tous les genres : du comique au dramatique, du documentaire à la comédie musicale. Notre travail rend accessible une partie méconnue de l’œuvre de Carlo Levi en contribuant ainsi à la redécouverte de l’un des auteurs majeurs du XXe siècle<br>In recent years there have been many in depth studies and publications on Carlo Levi's literary and artistic works. However, a section of his work, in particular his work in set design, script writing and film making in general, has been largely neglected by critics. Carlo Levi's association with the film industry started at the beginning of the nineteen thirties and extended to the beginning of the nineteen fifties. During these years, Carlo Levi had the opportunity to work not only with famous artists like Enrico Paulucci, Italo Cremona and Carlo Mollino, with whom he designed the film sets of Patatrac and Pietro Micca, but also with men of letters of the stature of Mario Soldati, Rocco Scotellaro and Alberto Moravia. The aim of this study is to trace Carlo Levi's career in cinema using information found in archived documentation of various types and from various sources: from sets, synopses and story-boards but also in previously unpublished commercial contracts. The films that he produced cover all genres: from comedy to drama and from documentaries to musicals. Our work makes a hereto unknown section of Carlo Levi's work accessible, thereby contributing to the rediscovery of a major 20th century author
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Akenson, David J. "Art in parallax: painting, place, judgment." University of Southern Queensland, Faculty of Arts, 2008. http://eprints.usq.edu.au/archive/00006176/.
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[Abstract]The point of this thesis is to undertake a critical engagement with the art and life debate. This debate involves, in particular, the question of the location of art. Does art belong to an autonomous field removed from ‘everyday life’, or is art located amongst the objects and daily activities of our lives? Contributors to this debate usually defend one or the other position; either defending autonomy or arguing that art is, or at least should be, part of life. The debate is located through three historical points: the avant-gardes of the early 20th Century Europe; the neo-avant-garde of North America in the 1950s – 1970s; and American formalist art and criticism of the 1930s – 1970s. The thesis then engages the debate through more recent examples of art where the binary art/life is again the principal issue. Minimalism, Installation art, Site-specific art and Wall Painting are examined in the context of the ‘end’ of modernist painting. The argument presented by the thesis will be informed by a recently emerging theoretical frame which engages the reception of Kantian and Hegelian forms of aesthetic judgment. This critical context includes the Slovenian philosopher, Slavoj Zizek; the Marxist-Hegelian theory of the German critic, Peter Burger, and the U.S. formalist critic, Clement Greenberg. The positions held by these theorists and critics will be examined through examples of art from both the modern period and more contemporary works. Through this context, the thesis positions the art and life debate within a structural analysis, arguing that art, including objects of ordinary life understood as art, occupy places within an art structure. The thesis argues that the choice between art and life is not so much a positive choice of one or the other, but rather a choice between one and the same thing seen differently; that is, the one thing seen in parallax.
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Wong, Sau-mui Alice, and 黃秀梅. "Fashioning food in impressionist painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46599058.
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This thesis explores the various roles of food in Impressionism by examining paintings of food so as to sort out their relationship with one another and their linkage to modern life in Paris in the 19th century. Food was related to spectacle, class reconfiguration, gender relations, consumerism and capitalism, and leisure, all of which were part of the revolution of modernity in Paris. By analyzing Impressionist images of food production, display and consumption in relation to these modern social and historical developments, the thesis explores the relationship between food and people, meaning the social dimension of food culture. In addition to standard art historical approaches, two research methods are especially important. First is to understand the general historical context of food imagery by examining 19th-century cookbooks, novels and treatises related to food, and popular visual culture including posters, menus, and prints. Second is to identify and analyze particular food motifs by studying recipes, statistics, and dictionaries of food.
Five chapters deal with five aspects of food. Chapter one talks about the crystallization of food into spectacle as a result of the conspicuous consumption facilitated by the construction of Les Halles, the central food market. Chapter two examines two different kinds of food production – rural agriculture and urban artisan cuisine – as expressions of two dissimilar attitudes towards labor, linked to competing conceptions of time as continuous and discontinuous. Chapter three raises the issue of sociability, where the pleasure of eating can only be obtained through the engendering of a semi-private space linking private eating to public identity. Chapter four shows how the coalescing of food and women in Impressionism intensifies the pleasures of visually and physically consuming the female body, while paradoxically entrapping male viewers in desire. Whereas these first four chapters emphasize social aspects of food, chapter five shows how food affected the interiority of particular artists, demonstrating the embodiment of psychological traits in Impressionist still lifes of food.
Overall, the thesis shows that Impressionist paintings of food actively interpreted and defined modern food culture as a continuous process of spectacularization and systemization, and that they consciously draw parallels between food consumption and visual consumption as similar processes of pleasurable consumption. By revealing that Impressionist food imagery sometimes does not comply with other Impressionist genres in interpreting modernity, the thesis opens new ways of thinking about both food culture and Impressionism.<br>published_or_final_version<br>Fine Arts<br>Master<br>Master of Philosophy
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Branham, Barbara Leedy. "Some visual issues of painting : an exploration of the painting process." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3856.
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Walsh, Kerry. "Potions and painting." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040701.155706/index.html.
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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003.<br>"A thesis presented to the University of Western Sydney in partial fulfillment of the requirements for the degree of Master of Arts (Honours) Creative Arts, December 2003" Includes bibliography.
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Moffett, Jessica. "Painting the impulse." Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/moffett/MoffettJ0505.pdf.
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My primary focus in my paintings is the male figure. These paintings have evolved in a non linear progression. I went from representational to partly abstract and back to representational infused with sequential art. During this development, I decided to paint my figures to resemble comic book characters of my own creation and paint them to represent emotional qualities of spontaneity and dualities of my psyche.
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Henry, Anne L. "Animated electronic painting /." Online version of thesis, 1992. http://hdl.handle.net/1850/12240.
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Chen, Jing. "La peinture chinoise en littérature : l'œuvre de François Cheng." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL092.
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Esthète, calligraphe, poète, écrivain, François Cheng se présente comme un lettré accompli des temps modernes. Il est le premier à étudier la peinture chinoise d'un point de vue structuraliste et sémiologique. Ce qui permet d'une part, de changer le préjugé et le cliché qu'a l'Occident de la peinture chinoise, et d'autre part, d'offrir une nouvelle perspective à l'étude de l'art pictural chinois. François Cheng envisage le monde d'une manière poétique et picturale, ses pensées esthétiques se reflètent ultérieurement dans ses créations littéraires. Il n'écrit pas, il peint. La thèse vise à étudier, à travers la vie et les œuvres de François Cheng, ses pensées philosophique et esthétique sur l'art pictural chinois ainsi que les liens qui unissent littérature et peinture<br>As a calligrapher, aesthete, poet and writer, Francois Cheng is claimed to be an outstanding representative of modern Chinese literati. He was the first to study Chinese painting from the perspective of structuralism and semiotics. On the one hand, his approach changes the Western stereotypes of Chinese painting; on the other hand, it provides a new perspective for the study of Chinese painting. Francois Cheng looks at the world with the eyes of a poet and painter, and his aesthetic thoughts are reflected in his later literary works. Cheng’s writing gives people the impression that he doesn’t just write but paints. Through an analysis of Cheng’s life and works, this thesis attempts to examine Cheng’s thoughts on Chinese painting embodied in his aesthetic works, poems and novels and also the relationship between literature and painting
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Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.
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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
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Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.
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Thesis (M.Visual Arts) -- La Trobe University, 2006.<br>Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
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Dupuis, Matthew. "Charles Lebrun : painting the king and the king of painting." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26684.
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This thesis examines the transformation in the representation of painters during Charles LeBrun's tenure as Life-Chancellor to the Academie Royale de Peinture et de Sculpture, from an initial definition in terms of the monarchy at Versailles to one founded on the practice of the art of painting. To promote the status of painters and painting, Louis XIV was celebrated as the protector of the arts in a royal portrait by Henri Testelin and was depicted as the ideal subject of art in paintings by Nicolas Loir and others. A painter's stature was then derived from the skillful manner in which he painted the history of the King. Engraved portraits accompanied by verse of Charles LeBrun and Adam Frans Van der Meulen identify allegorical painters as more distinguished than those who painted in a natural style. In both cases, Louis XIV is posited as being the source, subject, and eloquence of the art celebrating his achievements. Nicolas de Largillierre's Portrait of Charles Lebrun is modeled on Testelin's royal portrait and offers a portrayal of the artist which advocates service to the monarchy, but it grounds aesthetic activity in the body of the painter. This conception of LeBrun, in turn, serves as a paradigm for Pierre Mignard to create a self-portrait that proclaims his status in relation to the art of painting rather than through service to the King.
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Gettings, Michael. "Breaking Art Apart." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2036.
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The human figure, allegory, myth, and the appropriation of other artist’s compositions are elements in my work. I aim to update traditional stories to conform to contemporary times and culture. In addition, I am striving to create a new method to visually express figurative storytelling. Breaking from the traditional flat painting surface, I use multiple shaped panels. The surface is broken into different shaped panels at varying distances from each other and from the wall. This allows for more exploration into shape and negative space while depicting the dramatic height of a story. As part of this method, my paintings explore the discrete nature of human vision, or how we focus on individual parts of a scene while the brain filters the gestalt.
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Lykins, Victoria L. "Painting in a sculptural manner." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864931.
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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.
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Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.
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McCord, Kyle 1984. "Recklessness and Light." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700018/.
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This dissertation contains two parts: Part I, which discusses the methods and means by which poets achieve originality within ekphrastic works; and Part II, Recklessness and Light, a collection of poems. Poets who seek to write ekphrastically are faced with a particular challenge: they must credibly and substantially build on the pieces of art they are writing about. Poems that fail to achieve invention become mere translations. A successful ekphrastic poem must in some way achieve originality by using the techniques of the artist to credibly and substantially build on the art. The preface discusses three ekphrastic poems: W.H. Auden’s “Musée des Beaux Arts,” John Ashbery’s “Self-Portrait in Convex Mirror,” and Larry Levis’ “Caravaggio: Swirl and Vortex.” In order to invent, each of these poets connects time within the paintings to time within the poem. The poets turn to techniques such as imprinting of historical context, conflation, and stranging of perspective to connect their work with the paintings. I examine these methods of generating ekphrastic poems in order to evaluate how these poets have responded to one another and to consider emerging patterns of ekphrastic poetry in the twentieth century.
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Allen, Ruth Esther. "Clement Greenberg : pure art in an impure world." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433966.
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Tierney, Mark C. "No revelations /." Online version of thesis, 1991. http://hdl.handle.net/1850/11609.
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Whearty, Lauren Ann. "Making Space: Language, Painting, Poem." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1307394266.
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