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Academic literature on the topic 'Peinture de portraits française – 18e siècle'
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Dissertations / Theses on the topic "Peinture de portraits française – 18e siècle"
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.
Full textThe 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
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 textThe 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
Tureck, Caroline. "Réception de la peinture française en Pologne au XVIIIe siècle." Lille 3, 2008. http://www.theses.fr/2008LIL30040.
Full textThis thesis is devoted to the perception of French painting in the eighteenth century Poland. In order to understand the artistic links between France and Poland, it is essential to summarize the historical context of the period. Two factors promote the introduction of French taste in the eignteenth century Poland : stronger diplomatic relationship between the two countries and the internationalization of the French culture, since the seventeenth century. Studying the actors and their personality also helps us to highlight the specificities of the Polish cultural scene. The second part of this study is focused on the French painting in Poland. The analysis of two Polish collections - Stanislas August's and Stanislas Kostka Potocki's - shows the choice and position of the French paintings in these collections. The last part will determine what role the French painting plays in the eighteenth century polish Art production. French artistical theory partly influences the project of an Academy of Fine Arts in Varsaw during Stanislas August's reign. Polish painters are also used in Poland to show off the government's power, to decorate Polish residences, or to serve as a witness of the Polish society. The idea of perception determines therefore the forms and issues of the French painting in the eighteenth century Poland
Rainville-Langlois, Monique. "La figure féminine dans la peinture du XVIIIe siècle." Paris 10, 1986. http://www.theses.fr/1986PA100202.
Full textThis thesis is about the feminin figure in eighteenth century painting. It is based upon portraits in painting and in literature and also upon texts in art theory. It was important to take in consideration both sexes not to write a history of women. This is the reason why portraits of women and men, painted and written by women and men were analyzed. The authors of the texts in art theory are also of both sexes. We followed the advice of Poussin to Chantelou in a letter he wrote when he sent him the painting called La Manne: “Lisez l’histoire et le tableau”. “L’histoire” that can be translated by the “story” has been associated to the narration, “le tableau”, “the painting” to picturality. Semiology of iconography (Marin, Schefer) helped to read “the story” told in the painting selected; and contemporary theories in art (gestaltheory, Bru, Passeron) facilitated the reading of picturality. When we were reading the paintings; we had to oscillate constantly between narration an picturality because of the essence of the act of creativity that should be presented as “alternating commutation” (Lascault). The methodological option choosen had been ‘collage”. It is important to add that the analysis of the portraits in literature, by semiotic methods (C. Kerbrat-Orecchioni) helped the reading of the “story” of the paintings selected and that the study of the content of the rules of art added informations to the reading of their picturality. To sum up briefly, the portrait of a woman is one of beauty; the portrait of a man is one of power. The personage of the portrait is an example to follow. The main difference between the feminine figure and the masculine figure is that they wear different social masks. Otherwise, the personage of the paint portrait presents herself or himself as an articulation that destroys, disincarnate herself to the advantage of the color
Decoudun-Gallimard, Frédérique. "La vie féminine dans la peinture française au XVIIIe siècle." Paris 10, 1992. http://www.theses.fr/1992PA100015.
Full textThe dissertation entitled "women's life through the french painting of eighteenth century" develops three essential parts : the pratical life, the private life and the professional life, and leans on contemporaneous pictural works in order to justify its assertions. It treats in its first part of women's diverse society activities, deals with the salon phenomenon, describes through the example of madame de pompadour the place of the theatre and the fine arts in women's universe (painting, pieces of china), and deals then with the theme of pleasures (games, love). In its second part, the private life of these women is related, the relations between the latter with their children during different periods of existence (feeling, raising, marrying) are evocated and the major social which rests of them is brought to the fore. Moreover it evocates the purely selfish activities to which these women give themselves over (wash, moments of oblivion, minor activities), and insists on the importance of the intimate pleasure. Finally, the third and last part is devoted to the theme of labor, where a very clear distinction is made between degrading tasks with which the majority of the female population is concerned (servants, workers) and rewarding and fulfilling occupations that have the artists, the craftswomen or the teachers. It deals lastly with the oldest profession in the world : the prostitution. To conclude, it notices the extreme diversity of women's life at that time, and insists on the very ambivalent position that they hold in the society
Gouzi, Christine. "Jean Restout (1692-1768), peintre d'histoire à Paris." Paris 4, 1997. http://www.theses.fr/1997PA040129.
Full textUntil now, the painter Jean Restout (1692-1768) was known by only few specialists whereas he was one of the most renowned artists under the reign of Louis XV. Prominent member of the Royal academy of painting and sculpture, he worked for the Gobelins, for famous collectors (the duke of Luynes, the prince of Soubise or the marquis of Marigny), for religious orders in Paris and provinces. The "catalogue raisonné" of Restout's paintings, drawings and engravings proves that the quality and the interest of his art is equivalent to the one of artists like Jean-François de Troy, Francois Lemoine or Charles- Antoine Coypel. So this doctorate attempts to place the work of Jean Restout within the contemporary art of the century and highlights its significance in relation to the religious concerns of the day, especially in relation to the jansenist question. Moreover, this study shows that, because of his studio, Restout contributed to preserve and develop, throughout the eighteenth century the "great manner"
Henry, Christophe. "Aux sources du style : l'imitation et le culte des grands maîtres dans la peinture française de 1708 à 1799." Paris 1, 2002. http://www.theses.fr/2002PA010597.
Full textBeaurain, David. "L'art du portrait en France au dix-huitième siècle : l'image de la société et l'histoire d'un genre à travers la pratique, la critique et la diffusion." Paris 1, 2001. http://www.theses.fr/2001PA010566.
Full textSpenlé, Virginie. "Der "Bon goût" in Sachsen : zur Frankreichrezeption bei der Gründung der dresdner Gemäldegalerie." Paris, EPHE, 2006. http://www.theses.fr/2006EPHE4084.
Full textToward the end of seventeenth century, the model of princely representation minted by Louis XIV began to influence the evolution of fine arts in the Saxon electoral capital. Some art historians pointed out that this french influence might have had an impact on the formation of the dresden collections and particularly on the creation of the painting gallery. Material and ideal interchanges seem indeed to have increased under the reign of August II (1696-1733) and of his son, August III (1733-1761). The purpose of the present thesis is to study the evolution of the dresden painting gallery taking into account this cultural transfer between both countries. Therefore the painting acquisitions on the parisian art market shall be discussed as well as the french collectors' influence on the formation of a modern art museum prototype in Dresden
Gandrillon, Catherine. ""Albion's vital tree" : arbre, société et identité dans la peinture du portrait britannique de 1709 à 1792." Paris 7, 2003. http://www.theses.fr/2003PA070039.
Full textTrees often appear in the backgrounds of British portraits from 1709 to 1792. At the same time, they come under unprecedented scrutiny in economic, social, patriotic, political, artistic and scientific discourse. This research explores the specificity of the representation of trees in British portraits of the eighteenth century by establishing a link between the texts and the images of the period. Trees are undeniably considered as key elements in a representational process that aims primarily at staging cultural, social and economic identity by stressing values shared by many members of the 'polite classes'. Moreover, trees are at the heart of several myths that contribute to a new definition of national and political identity and this too impacts on portraits. Ultimately, however, the representation and physical aspect of trees also depend on individual interest in the scientific, philosophical or artistic theories of the time, and on the way the artist or the sitter understands the depiction of identity through art and the very nature of a work of art