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Julien, Albane. "Rosalba Carriera (1673-1757). Entre peinture et écriture : une Vénitienne dans l'Europe des Lumières." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30068.
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Ce travail de recherche porte sur l’œuvre de la Vénitienne Rosalba Carriera (1675-1757), qui connut un succès international grâce à ses portraits et à sa maîtrise exceptionnelle du pastel. Cependant, il serait réducteur de parler de Rosalba Carriera uniquement en tant qu’artiste.En effet, cette dernière rédigea une vaste correspondance, plusieurs textes en relation avec la société de son époque, écrivit un petit traité sur le pastel et fut dans le même temps poète et diariste.Le but de cette recherche consistera donc – sans oublier son travail de peintre –à mettre en lumière l’autre facette de l’artiste, à savoir, la femme de Lettres en prise avec son temps dont elle fut un témoin attentif.Dans cette double perspective, l’accent est mis, en premier lieu, sur la peinture et les femmes peintres en Europe et à Venise au XVIIIe siècle, avec une mention particulière pour la formation artistique de Rosalba Carriera. Dans un second temps, sont analysés ses écrits, parmi lesquels sa vaste correspondance ainsi que ses journaux qui révèlent ses qualités d’épistolière et de diariste ainsi que le vaste réseau qu’elle avait su se constituer en Europe, tout particulièrement en France et, dans une moindre mesure, en Angleterre. Enfin, Rosalba Carriera sera présentée comme poète, mais également comme témoin social et historique de son temps au travers de plusieurs écrits de natures diverses, au nombre desquels on compte le traité sur le pastel, Maniere diverse per formare i colori, dans lequel elle apparaît comme une remarquable pédagogue et spécialiste en la matière.Ces différentes facettes de Rosalba Carriera composant le portrait d’une artiste et femme de Lettres dans l’Europe des LumièresThis thesis is about the work of the Venetian Rosalba Carriera (1673-1757), who knew an international success thanks to her portraits and her exceptionnal mastery of pastel painting. However, Rosalba Carriera was not only an artist. In effect, she wrote many letters, texts in relation with the society of her century and she wrote a little essay about the pastel and she was also a letter writer, a poet and wrote diaries. Without forgetting her identity of artist,we will stress on her profile of woman of Letters, witness of her century. First of all, we will speak about the painting and the women painters in Europ and in Venice in the 18th century and we will insist on the artistic formation of Rosalba Carriera.In a second time, we will analyse the writings of Rosalba: her letters and diaries that reveal her qualities of letter writer and diarist and also the large network she especially developed in France and a little bit in England. Finally, we will introduce Rosalba as a poet, as a social and historical witness of her time thanks to many texts and thank to her essay on the pastel painting, Maniere diverse per formare i colori, where she appears as an educationalist and specialist. These differents facets of Rosalba Carriera will make up the portrait of an artist and a woman of Letters in the Enlightenment Europ
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Maraun, Timothy Fritz. "Tension in 18th century Chinese painting." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31841.
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In Western scholarship, eighteenth century Chinese paintings have consistently been seen as playful, eccentric, and odd. This characterization has been based on the formal qualities of some of the paintings. At the same time, Chinese scholars have written of the scholarly virtues and ambitions of the painters producing the works. The contradiction between these two interpretations is in part consistent with the Western and Chinese approaches generally. But it also stems from the mixed signals and information generated in the eighteenth century. The nature of painting, not just formally, but socially has yet to be explained in a way which takes into account some actual historical contradictions of the eighteenth century.
In order to explain these historical tensions, I combine a biographical (Chinese) approach with a contextual approach (Western) in a study of two different scholar painters, Zheng Xie and Li Shan. I juxtapose biographical sources with artworks, and less official writings relating Zheng Xie and Li Shan, in order to describe the tensions involved in painting for the literatus within the merchant culture of Yangzhou.
These tensions existed between the literatus' expected status and that granted him, between his ideal of the role of painting in the scholar's life and the implications of commercial painting, and between his emphasis upon poetry
and his popularity as a painter. In all cases, the tensions in eighteenth century literati painting arise from the difficult relationship between the painter and patron, and between the painter and the ideas of a broader public. The lack of a clear definition of "scholar" and "scholar painting" amongst literati illustrates the literatus' loss of control over the definition of his lifestyle.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Brezler, Tyler. "Criticism of Italian opera in early 18th century England." Thesis, Boston University, 2002. https://hdl.handle.net/2144/27605.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Taschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.
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The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art.
Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time.
The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts.
The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood.
While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.
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Fresco, Gabriella Petrone. "Shakespeare's reception in 18th century Italy : the case of Hamlet." Thesis, University of Warwick, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357494.
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Yarker, Jonathan Alexander. "Copies and copying in eighteenth-century Britain." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708785.
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Dorkin, Molly Karen. "'Let nature never be forgot' : plein-air landscape sketching by British artists in Italy, c. 1750-1800." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708169.
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Lee, Sai-chong Jack, and 李世莊. "China trade painting: 1750s to 1880s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015442.
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Toreno, Elisabetta. "Fifteenth-century Italian and Netherlandish female portraiture in context : a legal-anthropological interpretation." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6728/.
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This thesis contributes to the study of portraiture by delivering an appraisal of female portraits produced in the urban areas of Italy and Flanders in the fifteenth century. Scholarship on individual and selections of these items exists, but it is fragmented and influenced by Marxist-feminist views about genders and their roles in the system of patriarchy. The term ‘patriarchy’ describes a socio-political and economic organization that is male-controlled. By applying patrilineal rules of patrimonial and political transmission through social stabilisers such as the institution of marriage, it disenfranchises women from decisions that affect their life directly, and ultimately their sense of entitlement. However, in order to function successfully, it creates forms of compensation that diminish the risks of uprising by the marginalised. Concerning women, this could be seen as their feminine experience of these conditions, which feminist analyses tend to overlook. With an original survey of one-hundred and four individual female portraits dated c.1400-c.1500, this thesis explores the relationship between the image and such experience during the rise of entrepreneurial communities, because these groups relied principally on this system to prosper individually and collectively. For the task, this thesis uses a legal-anthropological method that eschews the Marxist-feminist trappings. Its results show that female agency in the domestic environment and the dowry-system produced a binary relationship between men and women and forms of public and private recognition that challenge the basic notion of female marginalisation. Secondly, the Christocentric practices developed by evangelical groups from the early-thirteenth century proved very popular amongst women because they offered varieties of autonomy and public intervention that were otherwise precluded to them. Thirdly, humanism affected a small but important group of women, whose desire for learning challenged conventional propaganda about female inadequacies. This thesis explains the ways in which these facets are integrated in the likenesses of this survey. It demonstrates that fifteenth-century spectatorship received two types of stimuli. One that invested on an affinity of appreciation of the social values of female beauty, fashion and domestic skills, and that articulated ideas of commonwealth and kinship. One other that sought affinity that was more intimate and consistent with the sitter’s psychological condition. These strands ramified into social and ethical discourses that this thesis charts and examines. The one-hundred and four portraits featured in this survey originated predominantly in Flanders and central-northern Italy, the early strongholds of European mercantile groups. Current scholarship compares Netherlandish and Italian portraiture in terms of modernity versus obsolescence because the former developed naturalistic portraits in located backgrounds in c.1430, whilst the latter preferred the profile format until the end of the century. This thesis contests this polarisation because visual and contextual evidence together suggest that sociocultural interests informed choices of formats and the circulation of likenesses to the effect that modernity in portraiture cannot be measured in mere technical terms. Fifteenth-century Netherlandish portraits are, indeed, the earliest examples of modern portraiture but this phenomenon must be understood, this thesis explains, as the product of concomitant conditions that include new media and new attitudes towards the self, caused by the secularisation of culture and the revival of Greco-Roman literature. This thesis also contributes to the knowledge of the genre because it uncovers types of female portraiture that are new to the existing assessments, thereby setting the parameters for a classification of the topic from the perspective of the feminine experience of her own mimesis.
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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.
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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.
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Brashear, Cherise Lukacs. "The Representation of Games in 18th-Century Rococo Painting: Differences in the Discourse Between Children and Adults." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/578954.
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This essay explores the significance of depicting children's games in 18th-century Rococo painting and the differences in intended meanings when applied to children versus adults. More specifically, the focus of my research is on the use of these games to exhibit moral lessons among adolescents and expose the connotations of fickleness, courtship, and eroticism when directed at aristocratic adults. The specific images that will be included in my discussion are Jean-Honoré Fragonard's Happy Hazards of the Swing (1767) and Blind Man's Bluff (c.a. 1750-1752), Jean-Baptiste-Siméon Chardin's Soap Bubbles (1733-34) and The Young Schoolmistress (ca. 1735-36), Jacques-Phillipe Le Bas's Blind Man's Buff (1737), and Nicolas Lancret's Blind Man's Bluff (c. 1728). I will also discuss the relevance of these paintings within their time period and the cultural politics of the eighteenth-century that would have had an impact on the development and interpretation of these images.
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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.
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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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McHale, Katherine Jean. "Ingenious Italians : immigrant artists in eighteenth-century Britain." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13854.
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Italian artists working in eighteenth-century Britain played a significant role in the country's developing interest in the fine arts. The contributions of artists arriving before mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence of a larger number of Italians from mid-century is seldom acknowledged. Increasing British wealth and attention to the arts meant more customers for immigrant Italian artists. Bringing with them the skills for which they were renowned throughout Europe, their talents were valued in Britain. Many stayed for prolonged periods, raising families and becoming active members in the artistic community. In a thriving economy, they found opportunities to produce innovative works for a new clientele, devising histories, landscapes, portraits, and prints to entice buyers. The most successful were accomplished networkers, maintaining cordial relationships with British artists and cultivating a variety of patrons. They influenced others through teaching, through formal and informal exchanges with colleagues, and through exhibition of their works that could be studied and emulated.
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Leist, Marnie. "The Virgin and Hell: An Anomalous Fifteenth-Century Italian Mural." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1120757484.
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Dottori, Mauricio. "The church music of Davide Perez and Niccolo Jommelli, with especial emphasis on their funeral." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1997. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.390892.
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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.
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Patterson, David Josh. "A Tale of Two Carlos: An Examination of the Ongoing Battle Between the Marginalized and the Privileged as Exemplified by Carlo Goldoni and Carlo Gozzi During the 18th Century." DigitalCommons@USU, 2011. https://digitalcommons.usu.edu/etd/1006.
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This thesis explores the lives and works of Carlo Gozzi and Carlo Goldoni. Specific emphasis is placed on their feud, positions in society, the motivations behind their theatrical styles, and the ways they used theatre to either attempt to maintain the status quo (Gozzi) or strive for social change (Goldoni). Contrary to previous studies, this study suggests that Goldoni tried to influence the world around him, rather than merely reflect it. This study examines the above through the lens of several twentieth century theories including semiotics, structuralism, and the avante-garde. The contents of this work are essential to anyone seeking biographical information, doing dramaturgical research or producing one of their plays, and those investigating the ways theatre has been used to incite change and create an atmosphere of social equity. This work demonstrates that theatre can, has been, and should be actively used to influence that change.
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Carlisle, Tara McDermott. "Adélaide Labille-Guiard and Elisabeth Vigée-Lebrun: Portraitists in the Age of the French Revolution." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332771/.
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This thesis examines the portraiture of Elisabeth Vigée-Lebrun and Adélaide Labille-Guiard within the context of their time. Analysis of specific portraits in American collections is provided, along with an examination of their careers: early education, Academic Royale membership, Salon exhibitions, and the French Revolution. Discussion includes the artists' opposing stylistic heritages, as well as the influences of their patronage, the French art academy and art criticism. This study finds that Salon critics compared their paintings, but not with the intention of creating a bitter personal and professional rivalry between them as presumed by some twentieth-century art historians. This thesis concludes those critics simply addressed their opposing artistic styles and that no such rivalry existed.
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Urbain, Ruano Elise. "La mode du négligé et le portrait français : de la "sprezzatura" au "naturel" le "négligé", 1670-1790." Thesis, Lille 3, 2020. http://www.theses.fr/2020LIL3H006.
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Le choix des vêtements représentés dans un portrait est rarement anodin, et ceci est particulièrement vrai à l’époque moderne. Les significations de nombreux attributs et costumes officiels ont été largement étudiées et commentées, mais qu’en est-il des portraits en négligé ? À partir des années 1670, le sens du terme « négligé » prend une nouvelle acception moins péjorative et qualifie des vêtements confortables, opposés à la grande parure. Il s’agit de déterminer les circonstances qui amènent à une revalorisation du point de vue sur le négligé et expliquer son succès dans le portrait. La question est posée dans le cadre des relations entre la France et l’Angleterre faites d’alternance de périodes d’assimilation et de rejet dont les effets sur les pratiques artistiques ne sont plus à démontrer.Au XVIIIe siècle, le terme « négligé » désigne aussi bien des vêtements que des styles artistiques en peinture ou littérature, ou encore une attitude totalement artificielle liée chez les femmes au rituel codifié de la toilette : il concerne les pratiques sociales d’élites caractérisées par un souci constant de la représentation. Par certains aspects, le négligé évoque la « sprezzatura » de Baldassare Castiglione, mais au cours du XVIIIe siècle il est rapproché de, ou opposé à, l’idée de « naturel ». Enfin, la diffusion des modes négligées est à lier au rejet des codes de la parure, contribuant au brouillage de la hiérarchie sociale d’Ancien Régime et permettant une affirmation individuelle au détriment de l’identité de groupe. De nouvelles clefs de lecture sont ainsi données pour des portraits dans lesquels la représentation des vêtements ne paraissait pas significativeThe choice of clothing depicted in a portrait is often meaningful, and this is especially true in the Early Modern Period and the Enlightment. The meanings of many official attributes and costumes have been extensively studied and commented on, but what about portraits « en négligé » ? From the 1670s onwards, the meaning of the French « négligé » took on a new, less pejorative meaning and qualified comfortable clothing, opposed to great adornment. This study aims at determining the circumstances that lead to a revaluation of the point of view on the « négligé » and explaining its wide use in portraits, in the context of relations between France and England, which are alternating periods of assimilation and rejection, the effects of which on artistic practices are no longer to be demonstrated. In the eighteenth century, the term « négligé » refers to clothing as well as artistic styles in painting or literature, or a totally artificial attitude linked, for women, to the codified ritual of the toilet : it concerns the social practices of elites, characterized by a constant concern for representation. In some ways, the « négligé » evokes the « sprezzatura » of Baldassare Castiglione, but during the eighteenth century it is associated to, or opposed to, the idea of « natural ». Finally, the « négligé » fashion is linked to the rejection of the codes of adornment, contributing to the blurring of the Ancien Regime social hierarchy, and allowing an individual affirmation at the expense of group identity. New reading keys are thus given for portraits in which the representation of clothing did not seem significant
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Meneses, Patricia Dalcanale 1980. "Espaços imaginarios : a perspectiva como expressão humanista na corte de Federico di Montefeltro." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278848.
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Orientador: Luiz Cesar Marques FilhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-04T09:46:44Z (GMT). No. of bitstreams: 1 Meneses_PatriciaDalcanale_M.pdf: 8894128 bytes, checksum: 81da8af625498974d32dee145363c4fc (MD5) Previous issue date: 2005
Resumo: o objetivo desta pesquisa é estudar três pinturas de cenas urbanas conhecidas como painéis de Urbino, Baltimore e Berlim e, mais especificamente, o ambiente cultural que as produziu. Considerando a cidade de Urbino como o mais provável local de origem dessas obras, o estudo concentra-se na relação entre arte e política, e no papel da arquitetura e cultura humanistas no ducado dos Montefeltro
Abstract: The purpose of this research is to study the three paintings of urban scenes, known as the Urbino, Baltimore and Berlin panels, and more particularly the cultural milieu that produced them. Considering the city of Urbino the most probable place of origin of the works, this study focuses on the relationship between politics and art, and the role of architecture and humanistic culture at the Montefeltro ducal estate
Mestrado
Historia da Arte
Mestre em História
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Howard, Jane. "The Sublime and the Beautiful in the Works of Claude-Joseph Vernet." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc500913/.
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This thesis examines the roles of the sublime and the beautiful in the works of eighteenth-century French landscape painter Claude-Joseph Vernet. An introduction to the study, a history of the sublime and beautiful, and an overview of the way these ideas are portrayed in Vernet's calm and storm pendants are provided. How commissions for these pendants relate to theoretical developments of the sublime and beautiful and how Vernet became aware of the these ideas are addressed. The thesis shows Vernet was not dependent on British patrons or on the century's most influential aesthetic treatise on the sublime and the beautiful by Edmund Burke, because Vernet started painting such themes well before Burke's treatise (1757) and did so in response to French patrons.
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Fonsato, Vanna Marisa. "Giudizi letterari di Isabella Teotochi Albrizzi nel carteggio inedito della Raccolta Piancastelli." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61287.
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The present work examines the literary criticism expressed by Isabella Teotochi Albrizzi in several of her unpublished letters.The first part outlines the cultural and historical tradition of Venice during the Eighteenth Century. Particular attention is subsequently given to the intellectual role of women, their contribution to the literary salons of the time, and the neoclassical tradition. This first part is essential in that it supplies a valuable context to Isabella Teotochi Albrizzi's writings.
In the second part, I examine Isabella Teotochi Albrizzi's literary criticism of major European authors and works. Through these criticisms she exposes her misvision of the literary world to which she aspired, and reveals that although she was influenced by the subtle preromantic tendencies, she remained faithful to the neoclassical school.
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Thorez, Eric-Selvam. "Peintres Moghols au XVIIIe siècle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040267.
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Cet ouvrage a pour objet l’étude de différents peintres moghols ayant exercé leur activité au XVIII° siècle, c'est-à-dire entre la fin du règne d’Aurengzeb et le début de celui d’Akbar II. Il s’attache à établir, pour chaque peintre, des catalogues de l’œuvre peint, et, partant, à définir les caractéristiques de chacun, en analysant le style et l’approche iconographique des peintures. Jusqu’à présent, la méconnaissance globale des collections de peintures mogholes du XVIII° siècle a désigné cette période comme une phase de recul qualitatif des peintres et des peintures, ces dernières étant généralement considérées comme peu nombreuses, stylistiquement faibles et limitées à des sujets galants, courtois ou érotiques. C’est en analysant ces collections peu étudiées que nous avons tenté d’améliorer la connaissance de cette période, à travers la vie et l’œuvre des peintres moghols face aux bouleversements qui surviennent dans l’Inde du nord tout au long du XVIII° siècle. Ainsi, nous nous sommes attaché à montrer, qu’après une première phase où prévaut, chez les peintres, une forme de classicisme, les membres de l’académie impériale ont tenté de rénover l’esthétique moghole face à l’émergence d’ateliers régionaux concurrentiels. Nous avons ensuite suivi le parcours des peintres qui s’installèrent en Oudh, amenant, sans rupture, le mouvement appelé Company Paintings, tandis qu’à Delhi, les membres de l’académie impériale s’orientaient vers une forme de néoclassicisme pictural. Ce travail permettra de jeter un regard nouveau sur les peintres moghols au XVIII° siècle, en montrant l’évolution donnée à l’esthétique classique dans un contexte de régionalisation de la peintureThis work is a study on Mughal painters who were active in the 18th century, between the end of Aurengzeb and the beginning of Akbar’s rein. The intention is to establish a catalogue of painted works for each painter, thereby defining the characteristics of each one through an analysis of the style and different iconographic approaches within the paintings. Until recently, the global lack of knowledge of Mughal eighteenth century painting collections defined this period as one of decline in the quality of painters and their works, the latter being generally considered to be small in number, stylistically weak and limited to gallant, courtly, and erotic subject matter.Through an analysis of these rarely studied collections that we have broached a renewal of our understanding of this period through the lives and works of these Mughal painters who were facing the political and economical disruptions that took place in the North of India throughout the whole of the eighteenth century. Therefore, our work has been focused on revealing that after an initial phase, when a form of classicism prevailed in the painters’ works, the members of the imperial academy aimed at renewing a Mughal aesthetic as the concurrent regional workshops emerged. We have then followed the direction of the painters who settling in Oudh, took with them, the movement known as Company Paintings, whereas in Delhi, the members of the imperial academy orientated themselves towards a neoclassical pictoralism. This work, by showing in particular the evolution of a classical aesthetic, will therefore allow us look anew at Mughal painters of the eighteenth century, within the context of the regionalisation of painting in India
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Marie, Laurence. "L'acteur peintre de la nature. Esthétique du tableau et premières théories du jeu théâtral au XVIIIème siècle (France, Angleterre, Allemagne)." Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040147.
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Cette thèse entend montrer comment la naissance de la théorie du jeu théâtral au XVIIIe siècle contribue à la mise en cause du modèle mimétique classique au profit d'un nouveau modèle expressif. Considérant trois aires culturelles (la France, l'Angleterre et l'Allemagne), elle adopte une démarche chronologique, qui vise à souligner les changements dans la façon d’entendre le parallèle entre l'acteur, le peintre et l’orateur. Il apparaît ainsi que la théorie du jeu tire sa légitimité d'une réhabilitation du spectacle visuel, qui donne lieu à une esthétique du tableau scénique mettant en lumière la spécificité du jeu. En ce sens, elle ne se constitue pas en rupture avec les traités d’actio, mais par une réinterprétation visuelle de leurs principes, en faveur d'une éloquence corporelle naturelle libérée des codes de la rhétorique. Dès lors, sous l’influence du sensualisme, la place centrale accordée au corps de l'acteur créateur conduit à une série d'expérimentations théoriques et pratiques qui portent sur la production et la réception du sentiment au théâtre, et qui sont alimentées par les échanges d'un pays à l'autre. Ces réflexions hybrides participent à la redéfinition des arts de la représentation en termes de relation esthétique entre un sujet créateur et un sujet récepteur, et au passage d'une conception imitative à une approche expressive du sentiment. La diffusion, par David Garrick, d'une certaine image de Shakespeare, dont la dramaturgie contrevient aux règles de la poétique classique, joue un rôle important dans le développement de la théorie du jeu visuel et dans la définition du théâtre comme texte et représentationThis work shows how the birth of acting in the eighteenth century calls into question the classical mimetic model in favour of a new expressive model. It examines three cultural areas: France, England, and Germany. It also adopts a chronological approch in order to analyse the changes undergone by the parallel between the actor, the painter and the orator. It then appears that acting theory draws its legitimacy from a rehabilitation of visual spectacle, which provokes the settling of an aesthetic of the stage paintng putting into light acting’s specificity. In that sense, acting theory does not emerge against writings on oratory action; on the contrary, it rises thanks to a visual re-interpreting of their principles freed from rhetorical codes. Hence, through the influence of sensualism, the major place given to the creative actor's body leads to theoretical and practical experimentations that concern the way to produce and to receive feelings, and which are nourished by multiple exchanges between the three countries. These hybrid reflections help redefine the art of representation as an aesthetic relation between a creating subject and a receiving subject. It contributes to the transition from an imitative conception of feeling to an expressive one. David Garrick’s spreading of a certain image of Shakespeare, whose dramaturgy offends the classical poetics rules, plays an important role in the development of a theory of visual acting an in the redefinition of theatre as text and representation
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Velescu, Elena. "La représentation des catastrophes naturelles en littérature et peinture dans l’espace culturel franco-allemand entre la deuxième moitié du XVIIIe siècle et le début du XIXe siècle." Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE4048.
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Ce travail vise à rendre compte des relations créées entre les événements naturels de forte intensité et dont les conséquences destructrices les ont fait nommer catastrophes naturelles, en partant du fameux tremblement de terre de Lisbonne, en 1755 jusqu’au milieu du XIXe siècle, avec l’avènement des nouvelles techniques et sciences, ce qui a engendré un nouveau rapport entre l’homme et la Nature. Ce changement de la représentation de la catastrophe en littérature, mais aussi dans la peinture s’appuie sur des mutations culturelles dans le plan religieux, scientifique et esthétique, dont les traces évidentes nous avons essayé d’expliciter dans ce travail. L’enjeu de cette thèse est d’analyser les métamorphoses du discours écrit et visuel de la période mentionnée, et d’attirer l’attention sur le passage entre l’horreur suscitée par un événement catastrophique et la dimension sensorielle et la fascination provoquée par le spectacle des phénomènes naturels. Toutefois, nous avons recherché le symbolisme des motifs attachés aux grands mythes de l’humanité, tels le Déluge, le thème de transgression-punition-rédemption inscrit dans la catastrophe, qui se transforme dans un nouveau concept, un objet d’analyse, de réflexion et de contemplation, qui nous incite à voir différemmentThis research aims to report on the relationships created among natural events of high intensity which can be categorized as natural disasters due to their destructive consequences starting with the famous earthquake of Lisbon in 1755 until the mid-nineteenth century, the advent of new technology and science, which created a new relationship between man and nature. This change in catastrophe representation in literature but also in the painting is based on religious, scientific and aestethetic changes, the key elements that we explored in this work. The aim of this dissertation is to analyze the metamorphoses of writing and visual discourse of the above-mentioned period and draw attention to the transition from horror triggered by a catastrophic event to a sensory dimension and fascination caused by the spectacle of natural phenomena. We also examined the symbolism of the motifs attached to the great myths of humanity, such as the Flood, the theme of transgression-punishment-redemption part of the disaster, which generates into a new concept, an object of analysis, reflection and contemplation, which inspires us to see the catastrophic events differently
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Ameille, Brice. "L’impressionnisme et la peinture ancienne : Itinéraire d’une avant-garde face à la tradition." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040088.
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Encore souvent perçu comme une véritable révolution esthétique, l’impressionnisme fait depuis quelques années l’objet d’une importante recontextualisation visant à remettre en question cette vision. Sans dénier au mouvement ses apports novateurs, cette thèse étudie la relation de ses membres avec la tradition picturale. S’appuyant sur un important corpus de textes critiques, de revues spécialisées et de catalogues d’exposition de l’époque, ainsi que sur de très nombreuses comparaisons iconographiques étayées, elle dégage quatre grandes sources d’inspiration : le XVIe siècle vénitien, le XVIIe siècle espagnol, le XVIIe siècle néerlandais, et le XVIIIe siècle français. C’est à l’aune de ce rapport à la peinture ancienne, et par le biais d’une typologie des différents positionnements à son égard, que la « crise » connue par l’impressionnisme au début des années 1880 est réexaminée, et que, plus généralement, une nouvelle approche du mouvement est proposéeImpressionism is often perceived as a genuine aesthetic revolution. However, over the course of past years, it has been reconsidered and this vision called into question. Without rejecting the groundbreaking characteristics of Impressionism, this thesis studies the relationship between the Impressionists and pictorial tradition. Referring to a large corpus of reviews, specialized articles, exhibition catalogs of the period, and supported by many iconographic analogies, it lists four major inspirations: the Venetian 16th century, the Spanish 17th century, the Dutch 17th century, and the French 18th century. In the light of this connection between Impressionism and Ancient painting, and with the help of a typology summing up the different positions regarding this connection, this thesis reexamines the crisis that Impressionism underwent during the early 1880’s and suggests a new approach to the movement
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Carvalho, Anaïs. "La réception allemande de la théorie de l’art de Roger de Piles au XVIIIe siècle." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30027.
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L’étude vise à dresser l’histoire de la réception de la théorie de l’art de Roger de Piles (1635-1709) dans l’espace germanophone au XVIIIe siècle. Accédant rapidement au statut de canons de la littérature artistique, les écrits de De Piles sont accueillis différemment selon les foyers politiques et culturels, selon les systèmes de diffusion et selon les acteurs de leur réception. La traduction de théories de l’art venant de l’étranger s’avère être, tout au long du XVIIIe siècle, un facteur fondamental dans la construction des théories allemandes de l’art de peindre. Entre 1699 et 1776, quatre ouvrages de, ou attribués à, l’auteur français sont publiés en langue allemande d’abord à Berlin, Hambourg puis Leipzig, par le peintre Samuel Theodor Gericke (1665-1729) et les amateurs Paul Jacob Marperger (1656-1730) et Georg Heinrich Martini (1722-1794). Certains sont réédités plusieurs fois ou retraduits hors des frontières du Saint Empire romain germanique, par Johann Dauw (1679-1723) et Tobias Querfurt (actif de 1732 à 1792). La réception allemande de la théorie du coloris de De Piles s’opère majoritairement en associations avec d’autres auteurs (Sandrart, Félibien, Lairesse, Testelin). Le processus d’assimilation du vocabulaire fixé par De Piles illustre l’évolution générale de la réception allemande de sa théorie. L’imprégnation des concepts depilesiens oscille entre fidélité, détournement et acculturation, dans une époque marquée par une recherche de corrélation entre théorie, pratique et goût de la peinture. Finalement, la position coloriste teintée d’éclectisme esquissée par De Piles s’épanouit dans le syncrétisme théorique et pratique de sa réception allemandeThe study aims to draw the history of the reception of Roger de Piles’ (1635-1709) theory, in the German area during the 18th century. Rapidly considered as a benchmark of artistic literature, De Piles’ writings are received differently according to political and cultural contexts, to dissemination system and to players of their reception. The translation of art theories coming from abroad happens to be, throughout the whole 18th century, a crucial factor in the construction of German theories of painting. Between 1699 and 1776, four books of, or attributed to, the French author are published in German, first in Berlin and Hamburg, then in Leipzig, by the painter Samuel Theodor Gericke (1665-1729) and by the connoisseurs Paul Jacob Marperger (1656-1730) and Georg Heinrich Martini (1722-1794). Some are republished several times or retranslated outside the borders of the Holy Roman Empire of the German Nation by Johann Dauw (1679-1723) and Tobias Querfurt (working from 1732 to 1792). The German reception of Roger de Piles’ theory of colouring occurs mainly in association with others authors (Sandrart, Félibien, Lairesse, Testelin). The assimilation process of the vocabulary established by De Piles illustrates the general evolution of the German reception of his theory. The impregnation of de Piles’ concepts fluctuates between fidelity, embezzlement and acculturation, in a period marked by a search of correlation between theory, practice and taste for painting. Eventually, the colourist position tinged with eclecticism sketched by de Piles prospers in the theoretical and practical syncretism of his German reception
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Frazier, Dustin M. "A Saxon state : Anglo-Saxonism and the English nation, 1703-1805." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4146.
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For the past century, medievalism studies generally and Anglo-Saxonism studies in particular have largely dismissed the eighteenth century as a dark period in English interest in the Anglo-Saxons. Recent scholarship has tended to elide Anglo-Saxon studies with Old English studies and consequently has overlooked contributions from fields such as archaeology, art history and political philosophy. This thesis provides the first re-examination of scholarly, antiquarian and popular Anglo-Saxonism in eighteenth-century England and argues that, far from disappearing, interest in Anglo-Saxon culture and history permeated British culture and made significant contributions to contemporary formulations and expressions of Englishness and English national, legal and cultural identities. Each chapter examines a different category of Anglo-Saxonist production or activity, as those categories would be distributed across current scholarship, in order to explore the ways in which the Anglo-Saxons were understood and deployed in the construction of contemporary cultural- historiographical narratives. The first three chapters contain, respectively, a review of the achievements of the ‘Oxford school' of Saxonists of the late seventeenth and early eighteenth centuries; antiquarian Anglo-Saxon studies by members of the Society of Antiquaries of London and their correspondents; and historiographical presentations of the Anglo-Saxons in local, county and national histories. Chapters four and five examine the appearance of the Anglo-Saxons in visual and dramatic art, and the role of Anglo-Saxonist legal and juridical language in eighteenth-century politics, with reference to discoveries resulting from the academic and antiquarian research outlined in chapters one to three. It is my contention that Anglo-Saxonism came to serve as a unifying ideology of origins for English citizens concerned with national history, and political and social institutions. As a popular as well as scholarly ideology, Anglo-Saxonism also came to define English national character and values, an English identity recognised and celebrated as such both at home and abroad.
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Eklöv, Anders. "Några diverse gamla tavlor : Om Pehr Hilleström och 1700-talets svenska konstmarknad." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-433468.
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This paper examines the painter Peh Hilleström (1732–1816) as a participant in the eighteenth century, Stockholm art market, according to the model used by Michael Baxandall in his study of Italian Renaissance art. The art market of the eighteenth century was expanding and included new groups of buyers, outside traditional patrons of art as court and aristocracy. The main purpose of the paper is to find these new art consumers. I use probate inventories from Stockholm, from the years 1735, 1775, 1795, and 1815, in which I search for annotations of paintings. The results are examined from an economic perspective, based on wealth, and a social, based on occupation and titles. Examining these four years I find a rather extensive, bourgeois, market for art, including the less well of households, and fairly independent of social status. The sources give few if any, details of the paintings listed. Hence it is not possible to connect any of the annotations in the probate inventories to Hilleström, since artists’ names are never mentioned. From some of the clues given, there is nevertheless, possible to reconstruct the outlines of what an art collection might have looked like. The wide scope of Hillestöm’s production, illustrated by the artist’s own list of his paintings, might be interpreted as a way to cater for this new market, illustrated by e.g. the frequent repetition of motives. Finally, I examine a few of Hilleström’s own paintings in the light of the previous investigation. Together the sources give a picture of a – fairly widespread – ideal of interior decoration, in which paintings are an important part.
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Pierre, Laetitia. "Enseigner l'art de peindre : l'œuvre pédagogique et littéraire de Michel-François Dandré-Bardon (1700-1783)." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H057.
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A première vue, les ouvrages du peintre d'histoire, littérateur, musicien et théoricien de l'art Michel-François Dandré-Bardon (Aix-en-Provence 1700 - Paris 1783) peuvent passer pour un savoir de compilation. Leur diversité déclinée sous forme de poèmes, traités de peinture et de sculpture, descriptions chronologiques d'œuvres, répertoires, éloges d'artistes et essais synthétiques, laisse croire qu'il couva tout au long de son existence une ambition littéraire démesurée. Pourtant, sa démarche dément une telle intention. En tant que co-fondateur puis directeur perpétuel de l'École de dessin de Marseille dès 1752, professeur pour l'histoire, la fable et la géographie des élèves de l'École royale protégée de 1755 à 1775, Dandré-Bardon élabora un corpus littéraire en douze volumes visant à établir la première théorie opératoire moderne. La démarche pédagogique engagée par l'artiste nous apparaît de ce point de vue fondamentale : elle s'articule étroitement avec une production graphique qui devient le fer de lance d'une démonstration globale. L'étude chronologique de la carrière artistique de Dandré-Bardon incluant désormais son œuvre littéraire, permet de réviser l'interprétation et la réception de plusieurs de ses chefs-d’œuvre. En choisissant d'axer notre démonstration sur la réception du projet éditorial de l'artiste, nous observons comment ses conceptions pédagogiques ont évoluées au fur et à mesure de leur mise en pratique. La démarche mentale de Dandré-Bardon articule étroitement la pratique de l'exécution artistique avec la production des écrits rédigés entre 1737 et 1778. Ils donnent ainsi les moyens d'apprécier la diversité et la subtilité sémantique des œuvres de ses contemporains en indiquant le cheminement de l'esprit qui anime la matièreThe work of Dandré-Bardon, an academic painter, writer, musician and art theorist (born Aix-en-Provence 1700 - died Paris 1783), could appear to be a synthesis comprised of mere compilation. The diversity of his creative and intellectual expression included poems, treatises on painting and sculpture, chronological and descriptive catalogues of artworks, artist biographies and hagiographies as well as analytical essays, the totality of which might give the impression of oversized literary ambitions. However, Dandré-Bardon's practical method contradicts such an unfortunate misunderstanding of his endeavors. As co-founder of the École de dessin de Marseille, Dandré-Bardon was appointed Director for life of the same establishment in 1752. From 1755 to 1775, he was also a professor of History, Fables and Geography for students at the École royale protégée, where he wrote a twelve volume literary compendium aimed at establishing the first modern theory for artistic pedagogy. With this in mind, the pedagogical method developed and unde1iaken by the artist was thus fundamentally important during the period : in conjunction with Dandré-Bardon 's artistic production, it became the spearhead for a broader movement. Henceforth, the chronological study of the artistic career of Dandré-Bardon must include his literary work, which will allow a re-evaluation of the historical reception of his masterpieces, as well as the meaning behind their iconography. By choosing to focus on the artist's texts, we can observe how his pedagogical concepts evolved in alignment with their practical application. The intellectual approach of Dandré-Bardon highlights the alignment between his a1iistic development and his literary output during the period from 173 7 to 1778. They provide the means of appreciating the diverse and refined semantics that marked the works of his contemporaries while showing the thought processes behind how the mind brings matter to life in the creation of art
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Fredericq-Lilar, Marie. "Pieter van Reijsschoot (1738-1795) et les siens: une famille de peintres gantois du XVIIIe siècle." Doctoral thesis, Universite Libre de Bruxelles, 1985. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213593.
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Erlander, Lillemor. "Moi et Desprez: : Om Louis Jean Desprez’ teaterdekorationer och Gustaf III:s nationella projekt." Thesis, Linköping University, Department of Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-19289.
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En studie av teaterdekoratören, konstnären och arkitekten Louis Jean Desprez' betydelse för Gustaf III nationella projekt, att förena sitt folk och skapa en nationell identitet med hjälp av opera och teater.
A study in the importance of the theatre decorateur artist and architect Louis Jean Desprez' for the national project of Gustaf III, to unite his people and create a national identity by using theatre and opera
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Rowley, Neville. "Pittura di luce. La manière claire dans la peinture du Quattrocento." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.
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La présente thèse a pour point de départ une exposition florentine organisée en 1990 et intitulée « Pittura di luce ». Ses organisateurs entendaient désigner ainsi un courant de la peinture florentine du milieu du XVe siècle fondé sur la lumière et la couleur claire. Comme l’avait bien compris l’exposition, cette « peinture de lumière » est d’abord identifiable dans la « manière colorée » portée par Fra Angelico et Domenico Veneziano, mais elle doit aussi être élargie à une manière plus « blanche », qui va de Masaccio aux premières œuvres d’Andrea del Verrocchio, au début des années 1470. Les implications techniques et symboliques d’un tel style méritent également d’être étudiées car elles renforcent le sens et la cohérence d’un mouvement publiquement soutenu par les Médicis et dont l’ambition majeure fut de « faire surgir » les peintures religieuses de la pénombre des églises (I). L’étude du développement géographique vaste mais discontinu de la pittura di luce approfondit les hypothèses proposées dans le cas florentin : tout autant qu’une façon moderne et proprement « renaissante » de peindre, la « manière claire » est aussi fondée sur une lumière théologique, associée en partie à la religiosité franciscaine. Piero della Francesca est assurément le grand protagoniste de ce double rayonnement, dans les cours et dans les campagnes (II). C’est également Piero qui sera au cœur de la redécouverte d’une peinture que les XIXe et XXe siècles ont réappris à voir grâce aux historiens de l’art et aux artistes, mais également en raison du changement des conditions de vision des œuvres d’art. En ce sens, la pittura di luce constitue un chapitre important de l’histoire du regard, que l’on propose de rapprocher d’autres redécouvertes picturales elles aussi fondées sur la notion d’apparition (III)This thesis starts from an 1990 Florentine exhibition called “Pittura di luce” which intended to identify a trend in the mid-15th-century Florentine painting. This “painting of light” is not only, as was said at the time, a “coloured style” led by Fra Angelico and Domenico Veneziano, but it should be extended to a more “white manner”, from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the “pittura di luce” is to make “emerge” religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this “bright style” amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the “pittura di luce” was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the “pittura di luce” is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar “paintings of apparition” (III)
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Monzone, Chiel Canzio. "Oltre l’erotismo : per una ridefinizione dell’opera poetica di Domenico Tempio (1750-1821)." Thesis, Avignon, 2013. http://www.theses.fr/2013AVIG1123/document.
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Le poète sicilien Domenico Tempio, ayant vécu à Catane entre la seconde moitié du XVIIIe siècle et le premier quart du XIXe siècle, a été classé pendant longtemps comme un auteur obscène, dont le profil humain aurait été, de façon tout à fait injustifiée, celui d’un libertin. En réalité, l’analyse du corpus des poèmes publiés (au nombre de 332) et inédits (56) démontre qu’il est faux de désigner ses textes comme pornographiques, suivant les jugements critiques qui ont été consacrés dans le passé à sa figure de poète et à son oeuvre. S’il est vrai, en effet, qu’une partie fort réduite de ses textes(16 sur 388) contient des représentations ayant un caractère licencieux, en termes de langage et de situations, il est tout aussi vrai que l’écriture obscène véhicule très souvent des connotations plus complexes. Cela résulte des poèmes érotiques qui ont été analysés et traduits du dialecte de Catane (parfois pour la première fois) dans cette thèse (L’imprudenza o lu Mastru Staci, Il Padre Siccia, Ad Reverendum N.N., La monica dispirata, Lu cojtuimperfettu, etc.). Il s’agit de textes dont l’attribution à cet auteur n’est pas toujours incontestable. Bien qu’une petite partie d’entre eux ne figure pas dans les manuscrits qui se trouvent dans deux bibliothèques de Catane (Biblioteche Riunite Civica e Ursino Recupero et Biblioteca Regionale), une tradition orale, relayée par les recueils imprimés, les a attribués depuis longtemps au poète sicilien. En effet, les textes en question abordent, entre autres, des thèmes tels que les comportements immoraux des ecclésiastiques, l’importance du mariage, la nécessité d’une sexualité conforme aux bonnes moeurs, la force corruptrice de l’argent, les effets néfastes de l’entrée forcée au couvent, etc. Tout cela se joint à une sexualité représentée dans ses modalités les plus brutales en tant que reflet des appels de la nature et que l’hypocrisie de cette époque-là voilait. Si la pornographie consiste en la représentation obscène du domaine sexuel, visant à susciter l’excitation des sens, cela ne vaut absolument pas pour désigner l’œuvre de Domenico Tempio : ses textes les plus licencieux ne l’impliquent aucunement. C’est plutôt un sourire malicieux qu’ils suscitent éventuellement auprès du lecteur. L’écriture obscène, chez lui, renvoie surtout au registre de la dénonciation, ayant pour but de fustiger les mauvaises mœurs et de moraliser. Mais le poète de Catane alla bien au-delà de l’érotisme. La plupart de ses textes (odes, petits poèmes, épithalames, huitains, fables, etc.), à commencer par La Carestia, son œuvre la plus marquante (20 chants comprenant près de 26 000 vers), présentent une grande variété de formules d’expression et de thèmes. Pour ce qui est des genres, on relève, par exemple, la satire, la parodie, l’ironie, la critique sociale, l’invective politique, etc. Quant à la langue employée, on enregistre plusieurs modalités (dialecte sicilien, vers toscans, emprunts à la langue latine, etc.). En ce qui concerne les thèmes évoqués,on signale, par exemple, l’amour romantique, l’infidélité des femmes, l’amour paternel, la dénonciation des injustices, l’indifférence du pouvoir,l’exploitation du peuple, etc. Dans le cadre du contexte culturel sicilien, Tempio représenta la seule voix qui dénonça, avec insistance, les erreurs et les abus d’une société décadente, tout en invoquant la nécessité de réformes et de changements majeursThe Sicilian Domenico Tempio (1750-1821) was a dialectal poet. He’s still known as a pornographic author: though he wrote very few obscene poems, they gave him a bad reputation. On the contrary, he was an active poet who denounced the nobles, the priests and the monks who abused their power and rank in a decadent fin-de-siècle Catania.Starting from his most important work, the poem La Carestia, Tempio was an author attentive to the need of justice, of solidarity and of equality – of reforms, in one word – in order to improve people’s living conditions.The thesis intends, therefore, to illustrate on the one hand the presumed pornography and on the other hand Tempio’s commitment in the framework of the Sicilian Enlightenment and despite some personal contradictions
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Schneider, Marlen. "„Belle comme Vénus‟ : das portrait historié zwischen Grand Siècle und Zeitalter der Aufklärung." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20031.
Full textAbstract:
Très apprécié et répandu pendant la deuxième moitié du XVIIe siècle et les premières décennies du XVIIIe, le portrait historié fut un phénomène caractéristique de la société de cour, révélateur des pratiques artistiques et culturelles de ce milieu. Partout en Europe et surtout en France, l’élite sociale se faisait peindre en costume de fantaisie mythologique ou historique par des peintres célèbres tels que Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier ou Jean Raoux. Figurant encore parmi les desiderata de l’histoire de l’art, l’étude scientifique exhaustive du portrait historié peut toutefois contribuer à la recherche sur le portrait français de l’Ancien Régime en général. Afin de définir la place particulière qui prenait ce type de portrait dans le monde artistique, culturel et sociale de l’époque, nous avons établi une historiographie qui tient compte 1) des innovations iconographiques et formelles du genre, 2) des rapports culturels changeants de ces portraits, 3) de leurs fonctions sociales, et 4) des réactions du public et de la critique d’art à partir du milieu du XVIIIe siècle. Face au discours des Lumières et avec la crise de la monarchie absolutiste en France, ses expressions culturelles et artistiques perdirent leur légitimation, et notamment le portrait historié, étroitement lié aux principes mêmes et aux convictions de la société de courThe portrait historié was one of the most characteristic and revealing phenomena of French court society, closely relying on this particular milieu’s artistic and cultural practices, and was thus very much appreciated during the second half of the seventeenth century and the first decades of the eighteenth century. Members of the social elites all over Europe and especially in France chose to sit in mythological or historicized costumes for renowned artists such as Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier or Jean Raoux. An extensive study of this particular kind of portraiture, which is still one of the desiderata in art historical research, might generally contribute to scientific research on French portraits from the Ancien Régime. In order to define the artistic, cultural and social impact and status of portraits historiés, the thesis examines the institutional, iconographic and formal evolution of the genre, its cultural context and influences, its social functions, as well as its reception in 18th century public sphere and especially in the context of enlightened discourse. Resulting from the moral and esthetic principles of court society, these cultural and artistic expressions derived from the absolutist French monarchy lost their legitimation during a period of political and social change and revolution
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Hinckley, Symonée Marie Sobral. "The Aesthetic Treatment of a Painting on an 18th Century Coach." Master's thesis, 2017. http://hdl.handle.net/10362/89039.
Full textAbstract:
The main objective of this thesis was the study and treatment of an oil painting on the upper back panel of an 18th century coach in the collection of Museu Nacional de Coches (MNC), Portugal. The painting is a symbolic representation of the Portuguese Monarchy and of Royal Power depicted by a female figure sitting on a throne with her right arm resting on the Portuguese Royal Shield of Arms. All the figures, including the Monarch, wear classical costume. The aesthetic appearance of the painting was significantly compromised. Large areas of the varnish were matt rather than shiny, and previous re-integrations were not saturated in colour, standing out from the original. In the centre of the panel, the join between two horizontal planks had separated and had been filled and reintegrated. The fill had developed a large obvious crack, with associated losses to the reintegrated paint on the fill. Infilling which had been applied over nail heads in other areas on the panel were disturbing since they were also cracked and had an uneven texture compared to that of the original painting.
The coach has a total of 11 painted panels, which were also examined as part of this work. This thesis project focused on four main areas:
- The study of the history, materials and techniques of the paintings on the coach. This involved research on 5 treatises on coach construction and decoration dating from 1858s to 1903, published in, France, England and United States,to evaluate the materials and methods recommended;
- The evaluation and identification of the materials and techniques for the paintings using stratigraphic analysis and analytical techniques. This was carried out with the support of Laboratório HERCULES. Due to time constraints, analysis was focused on the Upper Back Panel. For comparison of the materials present, μ-EDXRF was also carried out on 4 of the side panels as well as the Upper Back Panel;
- The full evaluation of the condition of the Upper Back Panel in order to develop an aesthetic treatment strategy;
- The execution of the treatment of the Upper Back Panel with the supervision of the Instituto José de Figueiredo.
The study of coach painting treatises revealed that it was common for paintings on these vehicles to become damaged. As a result it was expected that paintings would be routinely removed and replaced. Therefore although the coach may have been constructed in the 18th century, the current paintings could be from later centuries. After analysis of the upper back panel using μ-EDXRF, μ-FTIR, μ-Raman and SEM-EDS it was found that no elements or pigments specific to an time after the 18th century were present, except in areas of intervention. The materials original to the paintings which were identified during this thesis include: lead white, vermilion, ochres (hematite and goethite), green earth and Naples yellow; as well as the fillers, calcium sulphate and calcium carbonate.
The aesthetic treatment undertaken was successful in restoring gloss to matt areas of varnish along with re-saturating previous re-integrations and overpaint. Previous colour re-integrations were also retouched and the surrounding varnish colour re-integrated such that the visual impact of the discordant previous treatments was reduced and no longer became the focus of the painting.
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Junkerman, Anne Christine. "Bellissima donna an interdisciplinary study of Venetian sensuous half-length images of the early sixteenth-century /." 1988. http://catalog.hathitrust.org/api/volumes/oclc/23646827.html.
Full textAbstract:
Thesis (Ph. D.)--University of California, Berkeley, 1988.Illustrations on p. 516-633 of the original dissertation were not filmed at the request of the author. Includes bibliographical references (p. 472-498).
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Viggiani, Daniela. "L’edizione dell’Abecedario Pittorico di Pellegrino Antonio Orlandi, aggiornata da Pietro Maria Guarienti (1753), una fonte per la storia dell’arte portoghese." Thèse, 2016. http://hdl.handle.net/1866/19294.
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Edwards, Howell G. M., P. Vandenabeele, J. Jehlička, and T. J. Benoy. "An analytical Raman spectroscopic study of an important english oil painting of the 18th Century." 2013. http://hdl.handle.net/10454/10447.
Full textAbstract:
NoAn opportunity was afforded to analyse pigment specimens from an unrestored oil painting in the style of the English School of the mid-18th Century prior to conservation being undertaken. Raman spectroscopy was adopted to characterise the pigments and indicated the presence of a novel red pigment which was assigned to the complex chromium mineral, hemihedrite, in addition to other interesting materials found in combination. This is the first recorded identification of hemihedrite spectral signals in an art context in a range of mineral pigments that are otherwise typical of this period and some hypotheses are presented to explain its presence based on its occurrence with associated mineral pigments. It is suggested that the presence of powdered glass identified in certain areas of the painting enhanced the reflectivity of the pigment matrix.
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Ting-HuaWang and 王婷樺. "The Research of 18th Century Court Painter Redouté’s Flower Paintings: The Combination of Painting and Natural Sciences." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/tfvh4g.
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Therien, DEVIN. ""Terribile Disegno" and "Eroico Componimento" : Mattia Preti's Artistic Practices and their Reception in Seventeenth- and Eighteenth-Century Italy." Thesis, 2012. http://hdl.handle.net/1974/7163.
Full textAbstract:
The following study examines the artistic strategies of the Italian Baroque painter Mattia Preti (1613-99) in conjunction with their early reception in seventeenth- and eighteenth-century Italy. In addition to studying the first descriptions of the painter's art and his early biographers' characterization of his style, Bernardo De Dominici's comprehensive "Vita del Cavalier Fra' Mattia Preti" is analyzed in order to establish Preti's place in the history of Neapolitan Baroque painting. In so doing, descriptions of the painter's art are compared and contrasted with those of his contemporaries. Following the investigation of the early sources and biographies, the painter's strategies are studied through selected paintings executed between circa 1650 and 1680. These include such works as the Aquila 'Martyrdom of St. Bartholomew', the London 'Wedding at Cana', the Naples 'Feast of Absalom', and the Siena 'Canonization of St. Catherine'. The case studies highlight a number of practices the artist used to distinguish himself from his peers. In sum, this study argues that the early biographical accounts, while only partially conveying the breadth of the painter's art, function as a point of departure for accessing and comprehensively examining his representational strategies. Ultimately, this dissertation demonstrates that Preti was an artist who actively and continuously experimented with a range of pictorial possibilities.Thesis (Ph.D, Art History) -- Queen's University, 2012-04-29 18:26:13.056
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Macneil, Roderick Peter. "Blackedout : the representation of Aboriginal people in Australian painting 1850-1900." 1999. http://repository.unimelb.edu.au/10187/1063.
Full textAbstract:
This thesis examines the representation of Aboriginal people in Australian painting between 1850 and 1900. In particular, the thesis discusses and seeks to account for the decline in the frequency with which Aboriginal people were represented in mainstream academic art in the decades preceding Australia’s Federation in 1901. In addition, this thesis investigates the ways in which a visual discourse of Aboriginality was realised in mid- and late nineteenth-century Australian painting.The figures of Aboriginal people formed a significant presence in Australian painting from the moment of first contact in the late eighteenth century until well into the nineteenth century. I argue that in paintings of the Australian landscape, as well as in portraiture and figure studies produced in the second half of the nineteenth century, images of Aboriginal people were used to signify the primordial difference of the antipodean landscape. In these paintings, Aboriginality emerged as a motif of Australia’s precolonial past: a timeless, arcadian realm that preceded European colonisation, and in which Aboriginal people enjoyed uncontested possession of the Australian landscape. This uncolonised landscape represented the antithesis of colonial civilisation, both spatially and temporally distinct from the colonial nation.
I argue that prior to Federation in 1901, Australian national identity was dependent upon the recognition and construction of a ‘difference’ that was seen to be implicit within the Australian landscape itself. This sense of difference derived from the settlers’ perception of the Australian environment, and became embodied in those objects which appeared most ‘different’ from settlers’ notion of the familiar. Colonial artists drew upon an iconography based upon this recognition of difference to signify the geographical identity of the landscape which they painted. Aboriginal people were central to these icons of ‘Australian-ness’. Further, the association of Aboriginal people with a precolonial Australia served to rationalise acts of colonial dispossession.
Representations of Aboriginal people dressed in a traditional manner, as well as those in which they are portrayed in European costume as ‘white but not quite’, underwrote colonial assertions of Aboriginal ‘primitiveness’ and precluded Aboriginal participation in the foundation of the Australian nation. The strengthening nationalist movement of the 1880s and 1890s meant that a new iconography was needed, one in which the triumph of the white settler culture over indigenous cultures could be celebrated. As a result, Aboriginal people began to disappear from the canvases of Australian artists, replaced by ‘white Aborigines’, who symbolised a new depth in the relationship between setter-Australia and the landscape itself. As well and more broadly, they were replaced by the image of the white frontiersman, the leitmotif of settler culture. This exclusion of Aboriginal people from the conceptualisation of the Australian nation reflects not only their ‘disenfranchisement’ within Australian society, but more significantly reveals the effectiveness with which a visual discourse of ‘Australia’ painted Aboriginal people out of existence.
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Caffey, Stephen Mark 1962. "An heroics of empire : Benjamin West and Anglophone history painting, 1764-1774." 2008. http://hdl.handle.net/2152/17949.
Full textAbstract:
This dissertation interrogates correlations between imperial expansion and the history paintings produced for London audiences by the American-born artist Benjamin West (1738-1820) during his first decade in England (1764-1774). Within that ten-year span, Grand Manner academic history painting shaped and reflected the imperial anxieties that elite Britons experienced as a result of dramatic territorial gains, consolidations and losses in North America and South Asia. To follow the trajectory of history painting’s rise, relevance and obsolescence is to track Britons’ negotiation of their global status as a “free though conquering people.” As England’s pre-eminent history painter, West secured for himself a place within the discourses of the imperial self-imaginary by developing two types of iconographic program. First, the selective appropriation of narratives from classical antiquity allowed West and his patrons to inculcate their audiences with visual models for British imperial virtue. Advancing the cause of imperial self-ratification through classical narrative, West cast the English as the natural heirs to the Roman empire. The resulting images paralleled and buoyed contemporary textual discourses of empire and intersected with antiquarian collecting practices, both of which were based on the notion of modern British proprietorship of classical antiquity. Second, developing and refining a model introduced by Francis Hayman (1708-1776) at Vauxhall Pleasure Gardens in 1761, West contrived a pictorial format which introduced persons living and recently dead into a realm of visual expression formally reserved for characters from biblical and classical textual sources. Invoking some of history painting’s most familiar compositional and figural conventions, West recombined history painting, portraiture, landscape and genre to formulate the iconographically hybrid heroics of empire, complete with its own set of pictorial motifs through which West and his followers styled their subjects exemplars of classical imperial virtue. Imperial anxiety afforded history painting its short-lived relevance among English-speaking audiences during the second half of the eighteenth and first quarter of the nineteenth centuries, and imperial self-acceptance rendered that most highly-esteemed of artistic genres obsolete. Through the visual heroics of empire, Benjamin West established history painting as a viable form of Anglophone cultural production during his first decade in London.text
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Gonçalves, Fonseca Anne-Louise. "Pedro Alexandrino de Carvalho (1729-1810) et la peinture d'histoire à Lisbonne : cycles religieux et cycles profanes." Thèse, 2008. http://hdl.handle.net/1866/6606.
Full textAbstract:
Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de MontréalPour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Foltýnová, Marie. "Slavnostní vozy 16. - 18. století dochované ve sbírkách na území České republiky." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-351000.
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The aim of this study is to offer a description and evaluation of the ceremonial carriages collections preserved in museums across Bohemia and Moravia, and to put them in the context of European artistic and artisan production in the 16th - 18th century. The study provides an overall account of the development of carriage from technical, as well as art history angle, together with the necessary overview of the issues of courtly hierarchies, ceremonials and visual demonstrations of the modern aristocracy, leading ultimately to the transformation of a simple personal mode of transport into a pompous work of art. Many important Baroque artists took part in carriage construction and decoration, and this study attempts to ascertain the extent of their contribution in this area. By presenting a descriptive summary of the history of the ceremonial carriages found in the collections in Bohemia and Moravia, and providing a comparison study with such carriages from other European countries, we can assert their position within the context of Europe-wide museum collections, as well as provide the opportunity for foreign scholars to take the Czech collections into account in their research.
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Rajdlová, Lenka. "František Jakub Prokyš. Českobudějovický malíř 18. století." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-326916.
Full textAbstract:
The aim of this thesis was to write a monograph of the painter František Jakub Prokyš, who lived and worked in 18th century in the south of Bohemia. The first part is text put together from thoroughly examined archival sources and literature. It deals with the painter's private and professional life. The text is separated into compact chapters. The events are arranged chronologically. There are also included notes explaining in more detail the profiles of his customers. The main part of the text is the thorough cataloguing of Prokyš's works of art. The works are separated into groups according to the type of work such as pendant pictures, wall paintings, no longer existing works of art and other attributed works. Each catalogue entry has a unified structure. There is the title, technique, dating and origin at the beginning. Then follows the list of the archival sources and literature. In cases where it was possible, historical information about the works of art is included. An important part of the text is the description of the art piecework of art and its comparison with the painter's other works. There are mentioned the patterns of the works, if they were discovered during the research for this thesis. A separate part deals with the topic of iconography. The appendices contain the collection of...
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Honysová, Dominika. "Mariánské oltáře ze sbírky Tomassa degli Obizzi v Národní galerii v Praze." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358146.
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The aim of the thesis is to evaluace the altars with the central theme of Our Lady of Italian prohnance of the 14th and 15th centuries from the collection of Tommaso degli Obizzi, today in the National Gallery in Prague. The introduction will be assessed for czech and foreign literature on the topic. Then will be recalled the circumstances of the origin of this collection and the way how these works came from Konopiště chateau to the National Gallery in Prague. Next part of the thesis will be focused on five altarsplates, which will be interpreted by formal. Thes e works will be processed accordingly katalog system. Finally, work will evaluace those works and thein importance in the kontext of collecting in a wider context.
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Coelho, Daniela Filipa dos Santos. "O mobiliário pintado em Portugal do século XVIII : materiais, técnicas e estado de conservação." Doctoral thesis, 2012. http://hdl.handle.net/10400.14/13267.
Full textAbstract:
O mobiliário pintado constituiu uma das manifestações mais significativas na
produção e desenvolvimento das Artes Decorativas em Portugal, motivo pelo qual integrou
a grande maioria dos interiores históricos, e cujo conceito de abrangência ornamental o
aproxima, sob idênticos parâmetros, das tipologias acessórias arquitetónicas. A presente
dissertação pretende aprofundar o conhecimento acerca da produção de mobiliário pintado
do século XVIII, considerando o período do Barroco, do Rococó e do Neoclássico
portugueses, refletindo as especificidades da sua época de produção. Os relatos históricos e
a quantidade de exemplares que podemos encontrar na atualidade em Portugal demonstram
que o revestimento decorativo do móvel português se mostrou multifacetado e
diversificado, e o seu papel ultrapassou a mera função de objeto útil, para a qual havia sido
construído, embora se tenha assumido unidirecional quanto à abrangência civil e religiosa,
adotado como recurso decorativo frequente em ambos os espaços.
A inexistência de estudos especializados afigurou-se como uma motivação adicional
para as investigações e o trabalho que agora se apresenta resulta do estudo transdisciplinar
da produção do mobiliário policromado português, das dimensões histórica, artística e
social, das influências externas e dos principais fluxos geográficos. Após o ponto de
partida historiográfico, pouco abundante, a pesquisa debruçou-se sobre a observação dos
principais tipos de revestimento pictórico, permitiu a sistematização tipológica decorativa,
e a reflexão acerca da autoria e das particularidades dos centros de produção. A
metodologia processual assentou na estreita colaboração entre o estudo teórico e prático da
amostra de estudo, consolidando a etapa anterior numa análise tecnológica dos materiais,
das técnicas utilizadas na sua produção, tendo em conta os principais tratados e fontes de
inspiração coevas, e dos estados de conservação atuais. A avaliação dos processos de
degradação resultou do cruzamento da observação e análise dos objetos, da sua
composição material, das técnicas de execução e da sua interação com o meio envolvente.
Finalizou-se o trabalho com vários estudos de caso, constituídos por objetos pertencentes a
contextos diversos, cujas especificidades ditaram o estado de conservação e, após
equacionadas as necessidades individuais, resultaram em diferentes tipos de intervenção prática, consolidando-se o estudo técnico e material em dois deles através da realização de
exames laboratoriais.The painted furniture is one of the most significant manifestations in the production and development of the Decorative Arts in Portugal, and therefore it is present in most of the historical interiors, as its ornamental comprehensiveness brings it closer to accessory architectural typologies, due to identical characteristics. This dissertation intends to deepen the knowledge about the production of painted furniture in the 18th century, taking into account the baroque, rococo and neo-classicism periods in Portugal, reflecting the specific characteristics of its production period. The historical accounts and the amount of pieces of art we can find nowadays in Portugal, show that the decorative coating of the Portuguese furniture was diverse and multifaceted. It became more than just a useful object, exceeding its primary purpose, although it was unidirectional as far as its civil and religious comprehensiveness is concerned, being often used as decoration in both of these spaces. The lack of specialized studies became an additional motivation for the investigation and this work is the result of the trans-disciplinary study of the production of Portuguese polychromatic furniture, the historical, artistic and social dimensions, the external influence and the major geographical flows. The research had a scarce historiographical starting point and then focused on the observation of the major types of pictorial coating and it allowed a decorative and typological systematization and a reflection on the authorship and peculiarities of the production centres. The procedural methodology was based on the strict collaboration between the theoretical and practical study of the study sample, strengthening the previous step in a technological analysis of the materials, the technics used in its production, considering the main treatises and contemporary sources of inspiration, and the current conservation conditions. The evaluation of the deterioration processes resulted in the intersection of the observation and analysis of the objects, its material composition, production techniques and its interaction with the surrounding environment. The work was concluded with several case studies, whose specificities dictated the conservation status and, after considering the individual needs, resulted in different types of practical intervention, consolidating the technical and material study in two of them by performing laboratorial tests.