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1
NEGRIER, MARIE-CAROL. "Francis Ponge et Paul Cézanne : "façons du regard"." Dijon, 1989. http://www.theses.fr/1989DIJOL006.
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Le rapprochement des œuvres de Francis Ponge et de Paul Cézanne a pour but la mise en évidence de ce qui distingue l'expression picturale de la pensée verbale : en quoi le regard d'un peintre diffère-t-il du regard d'un poète sur les choses? Le premier chapitre étudie ce qui différencie concrètement un tableau d'un texte, puis montre que le rapprochement des deux artistes est possible : tous deux conçoivent leur art comme la création d'équivalents picturaux ou linguistiques des thèmes et des motifs choisis. Le second chapitre étudie l'approche de l'objet à travers l'œuvre : quel "découpage de la conscience perceptive" un tableau de Cézanne et un texte de Ponge offrent-ils au lecteur? Le troisième chapitre analyse les méthodes de Cézanne et de Ponge, et compare l'organisation picturale dans les tableaux du peintre avec la "rhétorique" des textes du poète. Le quatrième chapitre aborde la dynamique de la création à travers l'étude de tensions contradictoires, que l'on retrouve aussi bien dans l'œuvre de Ponge que dans celle de Cézanne.
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Nuti, Marco. "Enigme de la vision et savoir de l'image : la peinture de Cézanne entre littérature et philosophie." Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20013.
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Il y a deux façons de présenter un artiste : en invoquant sa personnalité et l’individu en tant qu’être social, ou en se référant à son œuvre et à sa valeur culturelle. Les premiers défenseurs de Paul Cézanne ont usé des deux modes d’appréciation qui, l’un et l’autre, ont eu des effets remarquablement durables sur l’évolution de la critique. L’influence de Cézanne sur les artistes contemporains reste aussi forte que jamais. La révolution opérée par Cézanne a eu une extraordinaire incidence dans l’histoire de la peinture : un phénomène qui a été étudié et qui a connu des recherches ponctuelles. Beaucoup moins connue mais moins surprenante c’est la pénétration et la fortune de sa peinture chez les poètes les écrivains, les philosophes. La conviction qui a dirigé mon projet de recherche est que seulement dans un général contexte comparatiste on peut restituer dans toute sa complexité l’ampleur du débat sur Cézanne. Pourquoi Rilke, Woolf, Stein, Hemingway, Bonnnefoy, Merleau-Ponty ont répondu avec une aussi grande intensité à la fascination et au rappel cézannien ? Voilà la question que ma thèse veut approfondir en relisant les moments plus hauts du dialogue entre littérature, peinture et philosophieThere are two ways presenting an artist : by invoking his personality and the individuality making part of his social identity, or by referring to his work and to its cultural valwe. The first defenders of Paul Cézanne have resort to these ways of appreciation which, both of them, had a long-dated effects on the critic's evolution. The Cézanne's influence on the contemporary artists keeps as strong as in the past. The revolution Cézanne produced has been an extraordinary impact on the painting history. .
3
Cobill, Brenda. "A study of the relationship between Paul Cézanne and Paul Gauguin." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22576.
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This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.
4
Matsumoto, Kaoru. "Cézanne and Hokusai : the image of the mountain." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26072.
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During the last half of the nineteenth century, a remarkable number of European artists were influenced by Japanese art and culture, a trend which has been labelled "Japonisme." Among the major Post-Impressionist artists, Paul Cezanne (1839-1906) alone has been viewed as untouched by this influence, largely because of the strong three-dimensional quality of his art. This study provides a reassessment of the issue of Cezanne and "Japonisme" by concentrating on the flat, two-dimensional aspect of his art. The development of Cezanne's conceptualized and schematized treatment of the Mont Sainte-Victoire theme is considered both formally and iconographically in relation to the image of Mt. Fuji by the influential Japanese printmaker, Katsushika Hokusai (1760-1849). Illustrating that Cezanne's path toward Modernism in painting may have been influenced by the Japanese print, and particularly the art of Hokusai, this study leads to a more profound understanding of Cezanne's development and the ideographic language of his images of Mont Sainte-Victoire.
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Chang, An-ching. "The use of perspective in the works of French artist Cezanne and Chinese artist Ku." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491468.
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The purpose of this creative project was to conduct a study on the usage of perspective in the works of French Artist Paul Cezanne and Chinese Artist Ku, Hung-Chung. By finding the relationships between the two, the student would be able to better his understanding of both Western and Eastern Art.In this project, the student identified and compared the physical and theoretical similarities, as well as the differences, in the use of perspective by Cezanne and Ku.From the result, the student attempted to develop and refine his personal concept of the perspective in his own works.
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Couto, Maria de Fatima Morethy 1963. "Cezanne no Masp." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279118.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado.
Abstract: Not informed.
Mestrado
Historia da Arte e da Cultura
Mestre em História
7
Colrat, Jean-Marc. "Les mains errantes de la nature : la reprise picturale du visible par Cézanne." Aix-Marseille 1, 2005. http://www.theses.fr/2005AIX10033.
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Pourquoi des images peintes ? Pour "joindre les mains errantes de la nature" répond Cézanne, nouant ses mains l'une dans l'autre. Cette intention donne sa perspective à cette thèse essentiellement consacrée à l'oeuvre peint de Cézanne. Elle désigne l'image picturale comme lieu de reprise du visible. La première partie est une histoire de la critique cézanienne et revalorise la fiabilié du témoignage de Gasquet. Elle montre que la perspective adoptée se démarque du formalisme moderniste et de la phénoménologie, esthétiques majeures du XXe siècle, qui se sont inventées en inventant leur Cézanne. Cette historiographie est donc aussi un examen critique de ces deux théories dans leur moment natif. La seconde partie décrit la reprise picturale à l'oeuvre. Elle met en avant quatre phases : les portraits peints vers 1895, les scènes imaginaires vers 1876, les commencements - particulièrement les scènes peintes sur les murs du Jas de Bouffan - et les "Grandes Baigneuses". L'idée d'un tournant impressionniste vers 1873 et la périodisation habituelle sont récusées, en même temps que Delacroix et Rubens cessent d'être envisagés seulement comme des sources iconographiques. On voit alors que la reprise picturale cherche à joindre toujours plus la totalité du visible sur le corps de la toile, mais aussi à nouer ce corps total à l'oeil de Cézanne. La troisième partie s'interroge sur le sens de ce projet paradoxal, et cesse de regarder l'oeuvre par son intention déclarée pour comprendre comment des images peuvent naître de ce projet iconicide où l'oeil s'aveuglerait à l'instant où, touchant la toile il serait au contact de tout le visible. Une théorie de l'imaginaire dans la sensation, de la spatialité de l'inconscient et du narcissisme, inspirée par le psychanalyste Sami-Ali, propose une réponse et donne une place inédite à un paravant peint par Cézanne, premier numéro du catalogue raisonné. Au-delà l'oeuvre d'art, elle esquisse un sens pour la reprise mimétique du visible par l'image
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Ballas, Guila. "Themes et composition chez paul cezanne : les series thematiques des baigneuses et des baigneurs." Paris 4, 1987. http://www.theses.fr/1986PA040251.
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Vers 1875, cezanne invente deux schemas de base symbolisant, par leur forme, l'idee qu'il se fait de la feminite et de la virilite, schemas qu'il developpera tout au long de sa vie en deux series thematiques concomitantes de baigneuses et de baigneurs. Cette etude consacree a la composition chez cezanne vue sous l'angle de l'apparition et de l'evolution dans son oeuvre de ces deux series, comprend trois parties. La premiere examine la genese de la separation des sexes dans l'oeuvre de cezanne, ainsi que les sources d'inspiration - litterai- res et visuelles - du sujet meme des baigneuses et des baigneurs. La seconde, et la plus importante, est une etude systematique et detail- lee de l'evolution de chacune de ces series de tableaux, et propose un historique des baigneuses et des baigneurs individuels. Cette etu- de s'appuie sur une analyse graphique de la composition et prend en compte les nombreux travaux preparatoires executes par cezanne au crayon et a l'aquarelle. La troisieme partie, consacree au dessin et a la couleur comme elements de la composition dynamique, est suivie d'un catalogue - refletant l'argument de cette these - des toiles, des aquarelles et des dessins de cezanne, ainsi que des oeuvres d'autres artistes lui ayant servi de sources d'inspiration. Cette etude montre comment s'effectue la demarche creatrice de cezanne, non seulement a l'interieur de chacun des tableaux de baigneuses et de baigneurs, mais aussi dans l'enchainement des va- riantes a l'interieur des deux series ; on voit egalement comment, en depassant le particulier, cezanne a reussi a elever ses images, issues de la nature, au rang de notions abstraites, anticipant par la-meme les tendances conceptuelles de l'art contemporainAround 1875, cezanne developed two basic schemes, symbolizing by their forms his personal idea of femininity and virility, schemes which he would evolve throughout his life in two concomitant thematic series of male and female bathers. This thesis, consecrated to composition in cezanne's work and examining the appearance and evolution of these two series, comprises three parts. The first examines the genesis of the separation of the sexes in cezanne's work, as well as the sources of inspiration - literary and visual - for the subject of bathers. The second and most important is a systematic and detailed study of the evolution of each of these series of pain- tings and proposes a history of each individual bather. This study is based on a graphic analysis of composition and takes into account the many preparatory works executed by cezanne, both drawings and watercolours. The third part, dealing with line and colour as dyna- mic elements of composition, is followed with a catalogue - reflec- ting the argument of this thesis - of oils, watercolours and dra- wings by cezanne, as well as works of other artists having served as sources of inspiration. This study demonstrates the creative procedure of cezanne, not only in each painting of bathers, but also in the sequences of variants throughout the two thematic series ; it also shows how, by going beyond the particular, cezanne succeeds in elevating his images, stemming from nature, to the rank of abstract notions, thereby anticipiting the conceptuel tendances of contemporary art
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Muñoz, Méndez María Elena. "El lugar del modelo y el modelo de lo puro — de Cézanne al collage." Tesis, Universidad de Chile, 2010. http://www.repositorio.uchile.cl/handle/2250/101265.
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La investigación que sigue aborda el problema del modelo y su lugar en la producción artística moderna. Se localiza, particularmente, en el momento en que la pintura se hace partícipe de la crítica de la representación y su relación con el mundo visible se vuelve marcadamente problemática. Esto es, fines del siglo XIX y principios del XX. Esta tesis toma por motivo un momento crucial en ese contexto histórico como es la obra de Cézanne y la lectura interpretativa de la misma a la luz del problema del modelo. En este sentido lo que pone a operar es la noción de modelo y su rol, tanto en la producción pictórica de Cézanne, como en las interpretaciones que la toman como referente para producir a su vez un modelo de comprensión de la pintura moderna, que se habría desarrollado a partir de las fórmulas cezanneanas.
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Paiva, Rodrigo Otavio da Silva. "Cezanne, a expressão e o motivo." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279116.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed
Mestrado
Mestre em História
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Semmer, Laure-Caroline. "Cézanne au XXe siècle : une réception critique de Paul Cézanne." Paris 1, 2004. http://www.theses.fr/2004PA010650.
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Cette recherche intitulée "Cézanne au XXe siècle" a pour objectif d' étudier les conditions d'émergence des différentes constructions critiques cézanniennes. Si le siècle achevé porte l'empreinte du peintre d'Aix, sa fortune critique révèle de nombreuses manipulations, notamment idéologiques. En contextualisant continuellement les propos, les écrits et les auteurs dans leurs environnements culturels et intellectuels, l'étude synthétique de ces constructions critiques permet d'envisager les interactions de l'histoire de l'art avec la discipline historique, la politique et la philosophie. Un panorama d'un certain nombre de textes peut alors offrir les moyens d'accéder à une lecture consciente de ses différents avatars.
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Pissarro, Joachim Stéphane Isaac. "Individualism and inter-subjectivity in modernism : two case studies of artistic interchanges : Camille Pissarro (1830-1903) and Paul Cézanne (1839-1906) : Robert Rauschenberg (1925- ) and Jasper Johns (1930- ) /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008421.
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Dias, Daniel Bezerra. "Desejo, alucinação, produção: La tentation de saint Antoine segundo Flaubert e Cézanne." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-10052016-122230/.
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O século XIX retoma, por meio de narrativas literárias e pictóricas, o enredo de Antão, personagem da religião católica que teria se exilado no deserto em busca da dedicação às suas orações e à leitura bíblica. A representação de Antão do deserto, do Santo Antão, é revista no texto literário de Gustave Flaubert e na pintura de Paul Cézanne. Flaubert, nas três versões de sua La Tentation de saint Antoine (1849, 1856 e 1874), reconstruiu o enredo do santo por meio do discurso da alucinação, articulado a suas leituras, estudos e observações do quotidiano, como se notam em seus relatos de viagem e em seus manuscritos. O escritor busca na construção do erótico e da ciência a base para o questionamento da fé do santo, atormentado por imagens invocadas dum sem-número de relações interdiscursivas. Cézanne, por sua vez, busca nas referências pictóricas, em especial em pinturas do século XIX, a produção de sua La Tentation de saint Antoine, estabelecendo, sobretudo na versão definitiva (1877), relações com a obra de Flaubert.The 19th century recovers, through literary and pictorial narratives, the story of Anthony, a character from the catholic religion whose legend says that he exiled himself in the desert in search of full dedication to his prayers and biblical readings. The representation of Anthony, or Saint Anthony, in the desert is revised on Gustave Flauberts literary text and Paul Cézannes painting. Flaubert, in the three versions of his The Temptation of Saint Anthony (1849, 1856 and 1874), reconstructed the story of the saint through the discourse of hallucination, articulating to his readings studies and quotidian observations of hallucination, as shown in his travel reports and in his manuscripts. The writer searches in the construction of the erotic and of the science the basis for the questioning of the saints faith, who was tormented by images invoked from an infinite number of inter-discursive relations. Cézanne, on the other hand, searches in the pictorial references, specially in 19th century paintings, the production of his The Temptation of Saint Anthony, establishing, particularly in the definitive version (1877), relations to Flauberts work.
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Long, Olivier. "L’oeuvre comme exercice spirituel, l’inspiration stoïcienne des artistes, l’exemple de Poussin et de Cézanne." Paris 10, 2007. http://www.theses.fr/2007PA100113.
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L’objet de cette thèse est de montrer comment des artistes se sont approprié le stoïcisme ancien (grec et romain). Le stoïcisme est une philosophie fondée sur la continuité physique de l’univers. Cézanne et Poussin sont des peintres qui ont fait œuvre à des époque de rupture. Notre propos est de d’interroger le néostoïcisme de ces artistes en faisant appel à l’étude des sources littéraires et artistiques antiques qui les ont inspirés. Les deux exemples que nous avons choisi nous permettent de déterminer ce qui définit le néostoïcisme de ces artistes : un certain rapport à la nature, une alternative à la représentation au sein même d’une tradition de la représentation, une éthique de résistance liée à des techniques d’ascèse, une pratique concrète de la tension qui met le geste au cœur de la pratique artistique, une tentative pour intensifier l’œuvre à partir d’une physique de la tension comme de l’attentionThe purpose of this thesis is to show how artists took over the ancient version of both Greek and Roman stoicism. Ancient stoicism is a philosophy based on the physical continuity of the universe. Cézanne and Poussin were painters who lived at a time marked by a break with traditions. Our purpose is to examine the neostoicism of those painters by studying the antique literary and artistic sources which might have inspired them. Focusing on the two examples we chose to analyse enables us to define what stoicism means as regards the artists; a specific relationship with nature, an alternative to representation within a traditional idea of representation, a code of ethics of resistance related to ascetic techniques, a practical implementation of tension which emphasizes the role played by gesture as the core of artistic creativity, an attempt at intensifying the work of art thanks to a physical tension as well as a physical attention
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Butler, Augustin de. "Revoir Renoir." Paris 8, 2006. http://www.theses.fr/2006PA082719.
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On croit connaître Renoir. On se trompe. Renoir est mal vu. Littéralement et dans tous les sens. Mal vu parce que des points fondamentaux de sa vie, de son œuvre et de sa trajectoire demeurent encore soit mal interprétés, soit méconnus. Mal vu parce que des procès sans fondement sont régulièrement instruits à charge contre le peintre. Porter aujourd’hui un regard neuf sur Renoir suppose donc qu’on révise un certain nombre de jugements et d’idées reçues. Qu’on revienne sur sa position – plus complexe qu’on ne le croit – à l’égard de l’impressionnisme. Qu’on reconsidère sa relation – plus décisive qu’on ne l’admet – avec Cézanne. Qu’on s’attarde sur la dernière manière de Renoir, présentée par celui-ci comme l’accomplissement de toute sa carrière et pourtant systématiquement négligée par les commentateurs récents. Cela suppose enfin qu’on prenne la véritable mesure du rôle, très sous-estimé jusqu’à présent, joué par Renoir auprès de deux géants du XXe siècle : Matisse et PicassoWe think we know Renoir. We’re mistaken. Renoir is badly viewed, both literally and figuratively. Badly viewed because fundamental aspects of his life, his work, and his trajectory remain either badly interpreted, or overlooked. Badly viewed because absurd charges are regularly brought against him. Renewing our views on Renoir today implies revising a number of judgments and received ideas. We need to revisit his position – more complex than some believe – regarding impressionism, and to reconsider his relationship – more decisive than some admit – with Cézanne. We need to linger on Renoir’s final period, which he himself considered to be the culmination of his career, and yet which has been systematically neglected by recent commentators. And last, but not least, we need to take the full measure of Renoir’s influence, previously greatly underestimated, on two giants of the twentieth century : Matisse and Picasso
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Liu, Chiao-Mei. "Cézanne : la série du Château Noir." Paris 1, 1998. http://www.theses.fr/1998PA010572.
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Le but de ce travail est d'étudier d'abord une série inédite de Cézanne les paysages qu'il exécute aux environs du château noir dans les années v. 1895-1906 -, et, ensuite, restituer la couleur de Cézanne dans l'esthétique impressionniste. L'influence de Cézanne sur l'abstraction est analysée sous un angle autre que la forme. La partie II présente le lieu du château noir et la jeunesse de Cézanne dans les environs d'Aix, du côté du Tholonet. Son travail à Fontainebleau est pris en compte avec ses études château noir. La partie III traite de la série de château noir et l'art de son temps. Les tableaux sont répartis en deux groupes. Les Fontainebleau sont confrontés aux château noir. Je souligne la fragmentation de la forme, dans le développement du romantisme a l'impressionnisme. La partie IV traite l'harmonie chromatique de Cézanne et son aspect phénoménologique. J'étudie le retour de la jeunesse dans la couleur de ses derniers paysages. La modulation plurielle chez Cézanne aboutit à une profondeur phénoménologique, discontinue. Les sensations colorées de Cézanne sont encore comparées aux correspondances baudelairiennees. La partie V essaie de cerner la modernité de Cézanne dans le contexte de l'esthétique impressionniste et de la culture fin-de-siècle. Sa couleur phénoménologique rend compte de la temporalité discontinue qui est la condition implicite de la subjectivité impressionniste. Je ferme cette thèse sur l'influence de Cézanne sur l'abstraction dans la temporalité discontinue - la dynamique et l'ouverture du processus créateurThis thesis aims at first studying a neglected series of landscapes by Cezanne done around chateau noir during a. 1895-1906, and, secondly, reconstitute Cezanne's colour in impressionnist aesthetics. The influence of Cezanne on abstract art is analyzed from a new point of view. Part II presents the place of chateau noir and the youth of cCezanne around tholonet, near Aix-en-Provence. His studies in Fontainebleau are considered together with his work at chateau noir. Part III treats the series of chateau noir and the art of Cezanne's time. The pictures are divised into two groups : architecture with trees, and trees and rocks. The fontainebleau are compared to the chateau noir. I remark the fragmentation of form, in the development from romanticism to impressionism. Part IV treats the chromatic harmony of Cezanne and its phenomenological aspect. I find the return of his youth in the colour of his last landscapes. Cezanne's multiple modulation of colours achieves a phenomenological, discontinuous spacial depth. His sensations of colours are also studied in the aesthetics of correspondances of Baudelaire. Part V outlines cezanne's modernity in the context of impressionnist aesthetics and fin-desiecle culture. Cezanne's phenomenological colour formulates the discontinous temporality, which is the implicit condition of impressionist subjectivity. I close this thesis on the influence of Cezanne on abstraction in discontinuous temporality - the dynamics and the opening of creative process
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Vasconcellos, Filho Miguel de Frias e. "Efeito Cézanne: uma abordagem epistemológica à experiência da percepção e do pensamento entre arte e ciência." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/13404.
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This paper rises an epistemological discussion, based in point of view of thinkers about perception, thoughts and intuition, mainly starting in Gaston Bachelard s analysis, envolving Art and Science. This paper, without intention to get answers, tried to make an artist-work-thinkers relation, started in search of comprehension of doubts and unrests, during the elaboration of Paul Cézanne s work (1839-1906), a name well-known, respected and considered in art universe, mainly found in letters wrote to his friend and confident Émile Bernard, to his son Paul; based in close person s narratives like Vollard s, and from impressions and percepcions of Rainer Maria Rilk, poet an art observer, which after know the Cézanne art, began a detailedly analysis. As oposition, was used the point of view of scientists accustomed with straightness of racional thought
Este trabalho levanta uma discussão epistemológica fundamentada na visão de pensadores no assunto da percepção, intuição e pensamento, principalmente, a partir das análises de Gaston Bachelard, envolvendo Arte e Ciência, O trabalho, sem a pretensão de trazer respostas, procurou fazer uma relação artista-obra-pensadores, feitas a partir da busca de compreensão das dúvidas e inquietações ocorridas durante a elaboração da obra de Paul Cézanne (1839-1906), um nome conforme é sabido, bastante respeitado e considerado no universo da Arte, apoiadas principalmente na leitura de reflexões do próprio artista, encontradas em cartas escritas a seu amigo e confidente Emile Bernard, a seu filho Paul; a partir de narrativas de pessoas próximas a ele como Vollard e, das impressões e percepções do poeta Rainer Maria Rilke, um observador de arte, que após conhecer a obra de Cézanne, passou a analisá-la minuciosamente. Como contraponto, buscou-se a visão de físicos acostumados com a retidão do pensamento racional , porém de alguma forma envolvidos com questões da arte
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Jaume, Adrover Magdalena. "Sobre el proceso. La Verdure, 1935-1943. Un cuadro de Henri Matisse." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/134987.
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El objeto de estudio de esta tesis es la tela La Verdure, una pintura al óleo sobre lienzo, de 2,45 m de alto y 1,95 m de ancho, que Matisse inició como proyecto de tapiz, en agosto de 1935 y que trabajó hasta 1943, expuesta hoy en el Musée Matisse de Niza.
La investigación parte de los documentos que intervinieron en el trabajo o que salieron de él, para tratar de reconstruir el proceso que fue necesario para la materialización de esta pintura.
El primer acercamiento a la obra ha sido intentar comprender cómo se ha llegado a ese resultado, al lienzo de hoy, y no a otro; en la descripción se han tratado de desvelar sus detalles más significativos, no con el objetivo de desvelar la pintura, ni de resolverla como enigma, sino de verla con más claridad.
El análisis se centra en cuestiones técnicas, cuantificables y verificables, dentro del límite de lo estrictamente material, pero ensayando las posibles motivaciones que llevaron a La Verdure a ser una obra clave para Matisse, definida por él mismo como la representación de su actitud frente al oficio.
“El creador de un cuadro o cualquier otro artefacto histórico es un hombre que aborda un problema cuya solución concreta y terminada es ese cuadro” (Baxandall). La obra que hoy cuelga de las paredes del Musée de Niza no es más que el último estado del cuadro que Matisse dejó interrumpido. Para poder localizar cuáles fueron las dificultades, los contratiempos y obstáculos a los que respondía, la tesis reconstruye, con el evidente margen de hipótesis, los momentos en que la obra se encontraba aún sobre el caballete, con la pintura fresca. La pintura se aborda como lo haría un pintor, no como un historiador, para deducir cuáles fueron los problemas a los que se enfrentó Matisse, las pinceladas que borró, las intenciones frustradas y los inesperados descubrimientos, su sucesión en otras obras.
La ausencia de los rastros de su transformación, inevitable al tratarse de técnicas pictóricas que superponen los cambios unos sobre otros, borrando estados anteriores, dificulta la reconstrucción de las transformaciones por las que pasó el lienzo. Pero otros documentos suplen esa falta de material: testimonios de quienes participaron en su creación: ayudantes, modelos, familiares, clientes, amigos; registros fotográficos de diferentes estados; dibujos o pinturas preparatorios; otras obras que estuvieron en el origen, que sirvieron de tanteo durante el proceso, para proponer y resolver la misma dificultad encontrada; obras posteriores, en las que el pintor insistió en la misma expresión o en resolver los mismos problemas pictóricos.
Como ha enseñado Baxnadall, se considera la obra como una respuesta dada a las dificultades del autor, entre las cuales forman parte tanto sus ´habilidades’ como sus ‘manías’. Encontrar dentro de una obra concreta, La Verdure, la totalidad de la obra de su autor, la totalidad del arte de su época, y la totalidad de la historia del arte: como proponía Walter Benjamin.The object of study in this thesis is the painting La Verdure, oil on canvas, the measures are: 2,45 m x 1, 95 m, a tapestry project, in august 1935. The painting, which is exhibited in the Matisse’s first purpose, was as Musée Matisse in Nice was finished in 1943. The investigation comes out from all the documents that were involved in the settlement of this work. Also to try to rebuild all the process needed to realize this picture. The analysis is centred on countable and verifiable technical item, within the limits of the material, trying all the possible causes that drove La Verdure to be the main work to Matisse, who explained it was the true representation of his own attitude in front of his trade. The painting that is on the wall of the Musée Matisse in Nice, is nothing but how Matisse left it, that is interrupted. The thesis try to rebuild all the difficulties he might have had, all the answers he could find to the contretemps and obstacles. Of course with all the evident margin of hypothesis, this thesis intends to catch the process of the painting when it still was on the stall. The lacks of tracks in this process are inevitable, as far as pictorical techniques are well known to be over painting, that is making changes over the previous painting. It is obvious how difficult is to rebuild the different states that the painting came trough. Other documents tend to supply the lack of material: witnesses who shared in the development of the picture: assistants, models, relatives, clients, friends, different kinds of photographical records: drawings, sketching, other works that were in the process, in the very beginning to propose and solve any kind of problem that could appear; some posterior works in which the artist insisted in the same expression or even how to solve the same kind of pictorical troubles.
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Rosé, Viviane. "Temps, affect, sensation : de Cézanne à Matisse." Toulouse 2, 2000. http://www.theses.fr/2000TOU20106.
Full textAbstract:
L'attention portée aux dits, écrits et oeuvres de Monet, Cézanne, Van Gogh, Matisse montre que lorsque le sensible devient le problème même de la peinture, apparaissent conjointement une poiétique des sensations et une composition spécifique modifiant la compréhension du sentir et celle du re-sentir artistique. Il faut donc fonder théoriquement mais aussi affiner au contact de chaque oeuvre la thèse selon laquelle l'organisation de l'affectivité s'ancre dans le chiasme de la temporalité et de la corporéité et produit une contexture. Une explication préalable de l'affectivité comme dimension de l'existence analyse ses modalités (sensation, sentiment, motif, humeur, directions de sens, tonalité affective générale) et dégage l'idée d'un champ affectif dynamique. Dès lors est élucidé comment l'art en tant qu'il dévoile et fait fonctionner l'organisation de l'affectivité en réalise la transformation par création de sensations, affects, percepts, trans-sensibilité au sein d'une contexture comme agencement toujours en acte des éléments-événements (temporalisation, spatialisation, coloration, lumination, formation de formes, de trajets de lignes, de vrillements et matérialités de touches, de signes expulsant des choses). Des monographies distinctes mettent en valeur la chromogenèse, l'instantanéité et l'extension de l'univers chez Monet, le passage du chaos à l'organisation des sensations colorantes menant à la logique du pli de l'expulsion de la lumination chez Cézanne, l'intensité et l'extase chez Van Gogh, la sur-face chez Matisse. A chaque fois la double compréhension de la logique ou culture des sensations comme fondement et de la temporalité de l'organisation de la contexture avec ses schèmes spécifiques nécessite une approche et un vocabulaire appropriés car l'art en inventant la corporéité transforme l'ensemble de notre façon d'exister dans le mondeThe study of the words, writings and works of Monet, Cezanne, Van Gogh and Matisse shows that when the tangible world becomes the main concern of painting, there appears conjointly a poetry of sensations and a specific composition that modifies the understanding of artistic feeling. We must thus establish theoretically but refined in contact with the artists'works, the thesis that this organization of affectivity is anchored in the khiasma of temporality and corporality, and that it produces a contexture. By modalities (sensation, feeling, motive, mood, direction of senses, general affective tone) and reveal the idea of a dynamic affective field. We can thus elucidate how art in so far as it unveils and uses the organization of affectivity then transforms it by creating sensations, affects, percepts and trans-sensitivity in a contexture of ever-moving arrangement of elements and events (temporalization, spatialization, coloration, light, structuration of shpaes, direction of lines, movement and materiality of touch which cause things to emerge). Monographs demonstrate the genesis through colour, the instantaneousness and the extension of the universe in Monet's work, the progression from chaos towards organization of colour and sensation leading to the logic of expulsion and light in Cezanne's work, the intensity and ecstasy of Van Gogh, the "sur-face" of Matisse. In each case the simultaneous comprehension of the basis of logic or culture of sensation and the temporality of the organization of the context with its specific planning and construction necessitates an appropriate approach and vocabulary because art, by inventing new modes of apprehending bodily and corporal reality, transforms the way that we exist in the world
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Bouaziz, Alain. "L' immédiateté de la pratique dans les perspectives de la création artistique : essai sur les temps de l'invention picturale." Paris 1, 2002. http://www.theses.fr/2002PA010502.
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L'immédiateté ne va pas de soi en peinture. Les préparatifs et tout ce qui fait l'atelier, chaque oeuvre, témoignent d'un désir du peintre d'instaurer des valeurs particulières au temps pendant le travail: il faut que les périodes de recherche esthétique soient aussi, mais sur un autre mode, une pure conception plastique. On pense ici que Paul Cézanne, André Masson, Bram van Velde et Geneviève Asse ont porté un regard chaque fois inédit sur l'intérêt esthétique des périodes instauratives de la recherche, ce dont leurs oeuvres sont marquées. Le mouvement poi͏̈é- tique de la création trouve des réponses plastiques originales sur leur art d'instaurer dans le travail des durées esthétiques égales à la production artistique.
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Dubois, Christine. "La tradition du paysage en peinture et sa reconduction dans l'expressionisme abstrait." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0099.
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Cette thèse réévalue la question, systématiquement écartée, du rapport de la peinture abstraite des Color Fields américains des années 40 à la Nature. Il y est démontré que ce lien est pleinement cohérent avec le principe d'autoréférentialité picturale qui a fondé ces oeuvres, ainsi qu'avec leur objectif de sublime et de "vérité" pure et primitive. L'hypothèse de base est que ces toiles se structurent à partir de dispositifs particuliers - qui se révèlent être ceux-là mêmes de la tradition picturale du paysage. La première moitié de la thèse trace donc la généalogie, des grecs à Cézanne, de deux topiques fondatrices du paysage en peinture : le contact terre/ciel et la montagne. Celles-ci composent une dyade iconique (nature domestique/sauvage) qui s'avère également un dispositif organisationnel foncier de l'image, par lequel transitera dès le Trecento la dialectique fertile entre mimésis et matière pigmentaire. De là un lien est proposé entre Cézanne qui, par son travail sur le paysage, mit à jour le pouvoir de celui-ci de révéler la vérité de la peinture, et les Color Fields qui, dans leur quête de la spécificité de la peinture, croisèrent la "grande Nature"This thesis re-evalutes a problem that has been systematically set aside - the link between the 1940s abstract painting of the American Color Fields and nature. This thesis shows that this link tallies with the principle of pictural self-referentiality that grounds such works, and with their goal of reaching the sublime and pure, primitive "truth". The basic hypothesis is that these works are structured according to particular principles that turn out to be those of the pictural tradition of the landscape. The first half of this thesis retraces the genealogy, from the Greeks to Cezanne, of the two foundational topoi of the landscape in painting : the earth/heavens contact and the mountain. These constitute an iconic dyad (domestic vs. Wild nature) that turns out to be an organizing principle of the image which, already with the Trecento, will transit through the fertile dialectic between mimesis and pigmentary material. This thesis the suggests a link between Cezanne, whose work on landscape brought to llight the latter's truth-revealing powers in painting, and the Color Fields which, in their quest for the specificity of painting, intersected with Nature
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Müller, Axel. "Im Rahmen des Möglichen : Studien zur Bild- und Raumkonzeption der Malerei des 19. und 20. Jahrhunderts /." Hildesheim : G. Olms, 1990. http://catalogue.bnf.fr/ark:/12148/cb35707754t.
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Marc, Becam Elise. "Ce que la philοsοphie de Μaurice Μerleau-Ροnty apprend de la peinture de Ρaul Cézanne." Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMR070.
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Cette thèse cherche à montrer que la phénoménologie de Merleau-Ponty tisse de nombreux liens cruciaux avec la peinture de Cézanne. Ainsi, son objectif premier est de mettre en évidence que ces derniers sont tout d’abord privilégiés par rapport à la place d’autres artistes dans l’œuvre du philosophe, qu’ils sont également durables tout au long du travail merleau-pontien, mais aussi tout à fait déterminants dans la manière dont ce dernier formule et reformule diversement sa penséeThis thesis seeks to show that Merleau-Ponty's phenomenology forges many crucial ties with Cézanne's painting. Its primary aim is to demonstrate that these ties are privileged compared to the place of other artists in the philosopher’s production, that they endure throughout his work, and that they play a decisive role in the way in which he formulates and reformulates his thoughts
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Abe, Asuka. "Inshô-ha : diffusion et réception de l'école française dite "impressionniste" au Japon entre 1945 et 1985." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010688/document.
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Les Japonais semblent avoir une prédilection pour la peinture impressionniste. Des expositions y sont consacrées chaque année et une foule anonyme d'amateurs s'y précipitent. Pour la réception des œuvres d'art dans la société, il est nécessaire non seulement que la notion d'art soit partagée, mais aussi les facteurs qui permettent son fonctionnement- les musées, les expositions, les spectateurs et les collectionneurs. Comment ce pays, le Japon, situé culturellement et géographiquement loin de l'Europe, s'est-il imprégné de cette notion étrangère à sa culture et devenir l'un des premiers consommateurs de peinture impressionniste? Cette thèse a pour objectif d'étudier la réception et la diffusion de la peinture impressionniste au Japon entre 1945 et 1985. Dans la première partie, nous nous intéresserons aux différentes parties prenantes du système de l'art au Japon, acteurs et vecteurs de la réception et la diffusion des peintures impressionnistes: les grands quotidiens, les grands magasins, les collections, l'enseignement de l'art, les reproductions. Les grands quotidiens jouèrent un rôle important en tant qu'organisateurs d'expositions et les grands magasins, en tant qu'importants lieux d'exposition. Dans la deuxième partie, nous nous focaliserons sur quatre peintres - Monet, Renoir, Cézanne et Van Gogh - que les Japonais englobent dans le mouvement impressionniste (lnshô-ha, ayant acquis une popularité particulièrement importante, et dont la réception et la diffusion se sont produites de manières différentes. En se concentrant sur la peinture impressionniste, notre étude décrit également la vulgarisation de la notion d'art au JaponThe Japanese seem to have a predilection for the impressionist paintings. Exhibitions gathering their paintings are organized every year and crowds of fans visit them. The reception of works of art in a society depends not only on a shared concept of Art, but also on the factors allowing the operation of Art - the museums, exhibitions, viewers and collectors. How did this country, culturally and geographically located so far from Europe, absorb this concept strange 10 their culture and become one of the most important consumers of Impressionist painting? This thesis aims to study the reception and the dissemination of Impressionist painting in Japan between 1945 and 1985. In the first part, I focus on the different stakeholders of the Art system in Japan, actors and vectors of the reception and dissemination of Impressionist paintings: major newspapers, department stores, art collections, art education, reproductions. Major newspapers played an important role as organizers of exhibitions and department stores, as important venues. In the second part, I study the reception of four pa inters - Monet, Renoir, Cezanne and Van Gogh - which the Japanese consider as Impressionists (lnshô-ha), who have gained a particularly significant popularity and whose reception and dissemination occurred in different ways. Focusing on Impressionist painting, our study also describes the expansion of the concept of Art in Japan
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Ferrato-Combe, Brigitte. "Écriture et peinture chez Claude Simon : fonction de la description de tableau dans le roman." Paris 4, 1992. http://www.theses.fr/1992PA040133.
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La réflexion sur l'art est au coeur de la poétique du romancier Simon, qui fait de la peinture le miroir de l'écriture. A telle enseigne que certains romans, qui proposent des analyses picturales, confinent parfois à l'essai esthétique, intimement mêlé à la fiction. La description de tableau, omniprésente, apparaît dès lors comme un trait stylistique dominant de ce dialogue de genres. Les romans de Simon renouvellent d'ailleurs les "topoï" de la figure du peintre, de l'atelier, du musée ou des galeries de portraits d'ancêtres, à partir desquels l'imaginaire se déploie, au-delà du sujet, la fiction semble littéralement procéder de la peinture, dans la mesure où la narration est le plus souvent engendrée par des descriptions de tableaux -d'Ucello, Poussin, David, Renoir, Bacon, Dubuffet, Rauschenberg. Et c'est encore en peinture que Simon compose ses oeuvres, recourant aux techniques du collage ou du polyptyque ou encore cherchant à retrouver la dynamique des oeuvres baroques. La peinture n'est pas seulement le modèle épistémologique, mais le principe même de l'écritureThe meditation upon art is essential to Claude Simon's poetics as a novelist, for whom painting is a mirror of writing some of his novels, founded on commentaries about painting intimely linked with fiction, are akin to the literary genre of essay. Describing pictures seems to be a dominant stylistic feature of such a dialogue between genres. Claude Simon's novels renew some pictural "topoi" – the painter as a character, his workshop, museums or galleries of portraits, from which surge an imaginary world. Beyond the subject of these novels, pictures - by Uccello, Poussin, David, as well as by Renoir, Bacon, Rauschenberg generate fiction through descriptions. Further more, Claude Simon composes his works as a painter, since he uses the technique of sticking or challenges the dynamic composition of baroque polyptics. Painting is not only a metaphor or a model of writing, but its principale
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Jersky, Michelle. "Meaning in Cezanne's still-life paintings." Thesis, 1992. https://hdl.handle.net/10539/25662.
Full textAbstract:
A Dissertation Submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg, for the
Degree of Master of Arts.This dissertation examines Paul Cezanne's still-lifes and proposes that the interpretation of meaning in these works depends upon the analysis of their stylistic elements. In Chapter 1 it is argued that the relationship between meaning and interpretation in the discipline of Art History is a complex one. An examination of the recent theoretical literature offers valuable insights into the ways in which art historians have assessed this relationship and the ramifications not only for the discipline, but for the Interpretation of Cezanne's still-lifes. The different ways in which scholars have interpreted Cezanne's oeuvre (particularly in relation to formalist approaches) are examined in the overview of the Cezanne literature in Chapter II. It is suggested that the existing body of interpretations in the literature forms an important part of a work's meaning and that therefore, the meaning of Cezanne's still-lifes should not be considered in an historical vacuum. furthermore, it is argued that the formalist interpretation of Cezanne's still-lifes warrants reevaluation, In Chapter III selected still-lifes are analyzed. The traditional art: historical dichotomy, reflected in the Cezanne literature, between 'form' and 'content', is challenged, The genre of still-life is contextualized in relation to Cezanne's other genres to substantiate the notion of a 'drama of style' evident in the still-lifes. It is argued that a stylistic approach to the still-lifes reveals both the importance of style in the interpretation of meaning in the still-lifes and the notion of artistic process evident in these works.
Andrew Chakane 2018
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Sopcisak, Lowell. "A Bioregional Provence: Ecocriticism and the Landscapes of Paul Cézanne." Thesis, 2020. https://doi.org/10.7916/d8-bkyq-4339.
Full textAbstract:
Since the beginning of the twentieth century, Paul Cézanne (1839-1906) has been analyzed repeatedly by scholars, most often through the methodologies of formalism and psychology loosely defined. However, Cézanne has never been considered through the methodology of ecocriticism. In this thesis I analyze Cézanne through an ecocritical lens, arguing that Cézanne's landscape paintings of Aix-en-Provence and the nearby coastal village of l'Estaque form a bioregional picture of his native environment, or bioregion, of Provence, while also arguing that Cézanne was environmentally aware. In analyzing the bioregional elements of Cézanne's landscape paintings, I explore subjects including the artist's biography and his friend Émile Zola's (1840-1902) environmental writings, ecocritical scholarship and art history's relationship with it, environmental history in Provence, and photography.
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MacKay, Douglas Gordon. "Copying, parody, and pastiche in the early work of Paul Cezanne." Phd thesis, 2010. http://hdl.handle.net/1885/110253.
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This thesis takes as its central theme the possible presence of techniques of copying, pastiche, and parody in the early poetry and painted works of Paul Cezanne. A chronologically-based assessment is made of Cézanne's various literary and visual efforts that might be seen to have been produced by such procedures in the period up to the end of the 1860s and the height of his so-called 'manière couillarde', Not only are the possible formal ramifications of such approaches discussed, particularly in regards to their inherent basis in the intrinsically imagic, but also the forms of multiplying content they might be seen to convey, a multiplicity then exemplified through a discussion of the various and often contradictory interpretations subsequently given those works. A suggestion is made that Cézanne's particular use of multiple and conflating citatory acts within, and across, works might be seen as deploying a particularly fecund form of opened-ended meaning making. Analysis of certain motifs in terms of their evocation of ambivalence, over-coding, and ironic distancing is undertaken in order to explicate how such possibilities may have been made manifest. In relation to this, key purported biographical tropes such as conflict with his father, repressed sexuality, and innate emotive inner turmoil are discussed in terms of the degree to which they might be functions of the possibly inherent parodic mise-en-scène of Cézanne's poetic and visual output of these years. In addition to a possible redressing of certain of these biographical presumptions on the possibly-mistaken dating of several letters, the nexus between historiography and assumptions regarding the perceived intentional posture underpinning an artwork's execution is explored. Some attempt is also made to position Cézanne's citatory articulations, as well as his increasingly transgressive and gauchiste paint application of the mid- to late- 1860s, in terms of contemporary avant-garde contexts. Comparisons are made, particularly in regard to the engagement with print reproductions, with, for instance, the work of Édouard Manet. Finally, an attempt is made to link the general notion of parody and irony, the repetition of the structuring forms of representation rather than the articulation of presumed preconceived content, to the possible embedding within works of a reflexive meditation upon their own stasis as performances, a general thematic that might then be linked to Cézanne's own possibly deliberately contrived performance during the 1860s as authentic maverick. Works discussed include certain of his posted poetry and pictures of the years 1858-1860, almost all his canvases presumed executed before his second visit to Paris in 1862, his mural scheme in the grand salon of the Jas de Bouffan, presumed executed over the period 1860-1870, and, finally, certain of his multi-figured canvases of the late 1860s.
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Mota, Anabela Antunes Alves 1965. "Que luz é esta que nos faz ver através do tempo : o mistério do visível." Master's thesis, 2017. http://hdl.handle.net/10451/28008.
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Possuiu um CD com Videos apenas consultável na Biblioteca da FBAUL, com a cota CDA 188What light is this that makes our sight... This is a research about light and time, about the relevance of a certain way of looking and the mystery of the visible. It is about the usual way of looking (the every-day view) and the look that is inhabited (the look-that-sees). In short, it is about how visibility – and more generally, existence - can be affected by a certain look. I purpose to walk this path through the evocation of some artists that approached these issues and from it they made art. They are: Gérard Castello-Lopes, Samuel Beckett, Paul Cézanne and James Turrell. Through art I propose to inquire visibility itself asserting that there it is unveiled (and hidden) the Mystery. That the mystery at the distant stars is the heaven on earth – and the ground beneath our feet
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Marcelino, Ricardo Jorge Matos. "Fazer pintura: a observação inveterada." Master's thesis, 2020. http://hdl.handle.net/10451/44274.
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To do painting: The inveterate observation treats the theme of observation of the world as an observation painted and rooted in the material. This is a theoretical-practical project. The document presents the portfolio with records of practical work (paintings) that value the materialization of the seen and felt as a form rooted in the transformation of the painter’s gaze. The document has three points. The first: Universal’s appeal, witch will work on an unknown order focusing on another painters where we feel it, the second: Creation and the lie: affection and the need for affection, where we will think the creative act through the questions that arose during the production of the works presented in the portfolio, and the third: Journey to Madrid: Balthus retrospective exhibition, in witch we register a visit of a great relevance for the production of the works, namely dealing with the materials and the painting material.
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Malloy, Kevin. "Paul C{u00E9}zanne, Georges Seurat and the practiced actions of painting: the visibilty of pictorial and painted structure in the material construction of painting." Phd thesis, 2017. http://hdl.handle.net/1885/151444.
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Dissertation. This practice-led study examines representational painting as a visual and material dialectic. The related dissertation examines Paul C{u00E9}zanne and Georges Seurat's unique contributions to late nineteenth century painting. It argues that they turned the established understanding of the structure of painting inside out: that they presented thought through the traces of practiced actions in the material construction of painting. The studio project questions how applications of such historical ideas can be applied to new purposes in painting now. The visual and material problems of painting are investigated through the interface of depicted representations and materially constructed surfaces and in the integrated relationship of pictorial and painted structure. Abstractions as painted units are examined in systems of painted deliveries that recursively present equivalents for sight and thought in the visible traces of the practiced actions of painting that determine the visibility of process and depicted representations. Collapsing the historically stratified separations of pictorial and painted structures defines painting towards a more complete and complex bearing where representation and material construction are equally weighted. The study investigates painting's representational purpose and questions the complexities of sight and thought in painted touch evinced in the material construction of painting.Dissertation. Paul C{u00E9}zanne, Georges Seurat and the practiced actions of painting: the visibilty of pictorial and painted structure in the material construction of painting -- Exegesis. The constructed depiction : the visibility of process in the material construction of representational painting.
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Leal, Jorge 1975. "Da presença do desenho na pintura : a linha transformadora." Doctoral thesis, 2017. http://hdl.handle.net/10451/34114.
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Drawing is understood as a means of foundational expression of artistic activity and as the most effective tool to access the representation. The paradoxical situation of drawing and painting remaining as taxonomically diferent activities, since there are approximations by practice while subsisting as actions described differently, requires a theoretical review from within the artistic practice in the context of studio practice. The gap between drawing and painting, stimulates demand for a change of procedures within the art project. In the territory of figuration, universe in which the artistic project is developed, it is necessary to find an element that allows this approach. The connection between drawing and painting is questioned based on three main ideas: the relationship between drawing typologies and painting, drawing protagonism within the hierarchical work established by historical practices of painting, and visual participation of drawing in the finished painting. Drawing is considered as belonging to a tradition which becomes active through its reassessment by working in the studio with the potential to reconfigure the territory of painting. In this case the support, as the first distinctive feature of the two practices, is thought of as a continuous territory through the action that is developed on it. In this sense, the modest character of the paper works as a model for the work on canvas that becomes materially rarefied. The line is understood as an element that inhabits the drawing and painting using different graphic expressions. It is understood that through the intervention of brush you can find a common configuration for both practices. The characteristics of the material and support are no longer relevant in the classification of a work as drawing or as painting,
this function being assigned to the graphic element that builds the representation, in this case the line drawn with a brush. By using the line as painting’s building element it becomes potentially a hybrid entity, which is necessary to understand as an extended field of drawing practice
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Soares, Stela Maria dos Santos 1970, and Tomás Maia. "O espaço pictural em Heidegger." Master's thesis, 2009. http://hdl.handle.net/10451/1979.
Full textAbstract:
Tese de Mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2009The present essay tries to put forward a pictorial space perception in Heidegger’s thinking, taking as an object of study several of the author’s texts. In a first stage, we approach Heidegger’s thought on creation, where the conception of truth appears as original opening and disclosure, to then discover that it is through the artwork that its “thingness” manifests itself and where the essence of the creative act comes together in let-be the Being and in the making as to let-be the work of art. We also look into the existence of parallels between Heidegger’s and Buddhist thought. In the following chapter, before exploring Heidegger’s concept of pictorial space, we try to put forward how the concept has been looked at throughout time within the discipline of art history, referring to a select few examples that we consider to be fundamental in arguing our case. It is our conviction that the history of painting is a history of discontinuity, where each change is a radical rupture, a spacing that’s a new beginning. To know if we might speak and how we would speak of Heidegger’s pictorial space, in third Chapter we traced a path through Dasein and thing spaciality, so as to then grasp the meaning of concepts like space, time, place and emptiness. In the final chapter, we go back to the works of art, choosing those artists whose ways of doing echo our shared understanding of Heidegger’s thoughts, and therefore converging the analysis done all across the thesis. Overall, we try, through this investigation, to articulate Heidegger’s reasoning with an oriented analysis within art history, through a movement of approximation and removal, deepening the two-fold meaning of space in these two blocks – historical and conceptual – that make up that analysis. In conclusion, we establish our insight into the concept of pictorial space in the language of the thinker here being discussed and within the historical context, followed by a discourse on artists and works of art by us considered more suitable.