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Dissertations / Theses on the topic 'Pictoriality'
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Habib, Azzeddine. "Peindre et dépeindre la peinture : d'une phénoménologie de la peinture et d'une représentation par mise en abîme." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC041/document.
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Ce travail de thèse porte sur la question de la représentation picturale (l’aspect iconique de la peinture) et celle de la représentation de la peinture (l’aspect pictural de la peinture) dans le contexte contemporain. C’est un travail sur la peinture, avec la peinture et de la peinture. Un travail sur la peinture puisque l'acte de peindre n'a de finalité que celle de feindre la représentation et afin de permettre à la peinture de défendre un espace pictural. Un travail avec la peinture car il est question de partage lors d'une représentation, c'est à dire : tenir compte d'une libération de la peinture à travers la figure. Et enfin, un travail de la peinture qui est mise en exergue de la réalité matérielle de la peinture (la picturalité). Ma démarche a pour appui l'exercice d'une dialectique (acte de peindre et acte de peinture) et l'articulation d'un principe de la transfiguration (d’une figuration à une peinture figurée). De ce fait, j'opte pour une représentation qui s'élabore par dripping et jets de la peinture sur toileThis thesis deals with the issue of pictorial representation (iconic aspect of the painting) and the representation of painting (pictorial aspect of the painting) in the contemporary context. It is a work on painting, with painting and painting. Work on the painting since the act of painting has finality than pretend representation and to allow the paint to defend a pictorial space. Work with the paint as it is about sharing during a performance, that is to say, reflect a release of painting through the figure. And finally, a paint job that is highlighted in the material reality of the painting (the pictoriality). My approach is to support the exercise of a dialectic (act of painting and action painting) and the articulation of a principle of transfiguration (in a figurative to a figurative painting). Therefore, I opt for a representation that is developed by dripping and throwing paint on canvas
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Poivert, Michel. "Recherches sur la photographie pictorialiste en France /." [Paris] : [M. Poivert], 1989. http://catalogue.bnf.fr/ark:/12148/cb40379357d.
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Poivert, Michel. "La photographie pictorialiste en France, 1892-1914." Paris 1, 1993. http://www.theses.fr/1992PA01A571.
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Young, W. Russell. "The soft-focus lens and Anglo-American pictorialism /." St Andrews, 2008. http://hdl.handle.net/10023/505.
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Young, William Russell. "The soft-focus lens and Anglo-American pictorialism." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/505.
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The history, practice and aesthetic of the soft focus lens in photography is elucidated and developed from its earliest statements of need to the current time with a particular emphasis on its role in the development of the Pictorialist movement. Using William Crawford's concept of photographic 'syntax', the use of the soft focus lens is explored as an example of how technology shapes style. A detailed study of the soft focus lenses from the earliest forms to the present is presented, enumerating the core properties of pinhole, early experimental and commercial soft focus lenses. This was researched via published texts in period journals, advertising, private correspondence, interviews, and the lenses themselves. The author conducted a wide range of in-studio experiments with both period and contemporary soft focus lenses to evaluate their character and distinct features, as well as to validate source material. Nodal points of this history and development are explored in the critical debate between the diffuse and sharp photographic image, beginning with the competition between the calotype and daguerreotype. The role of George Davison's The Old Farmstead is presented as well as the invention of the first modern soft focus lens, the Dallmeyer-Bergheim, and its function in the development of the popular Pictorialist lens, the Pinkham & Smith Semi-Achromatic. The trajectory of the soft focus lens is plotted against the Pictorialist movement, noting the correlation betwixt them, and the modern renaissance of soft focus lenses and the diffuse aesthetic. This thesis presents a unique history of photography modeled around the determining character of technology and the interdependency of syntax, style and art.
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Hudek, Antony Geoffrey. "Invisible painting : mimetic pictorialism in post-modern New York." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428492.
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Laue, Ingrid Elizabeth. "Pictorialism in the fictional miniatures of Albert Paris Gütersloh." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27367.
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The purpose of this study has been to investigate and analyze the "fictional miniatures," i.e., the short prose works, of Albert Paris Gütersloh. The assumption was that a marked interrelationship exists between these and Gütersloh's painted miniatures. Given the fact that Gütersloh was both writer and painter, and since many of the questions which logically arise out of this duality either have not been addressed at all in the scholarly literature on Gütersloh, or dealt with only superficially, it was felt that the approach used in the present study had to focus, to some extent, on the artist's dual talent. The study attempts to illustrate Gütersloh's artistic nature in conjunction with an investigation of one area of artistic expression, namely the short fictional works.
The method was one of proceeding from the general to the particular, i.e., by first examining the complex phenomenon of the "painting writer," or "writing painter," as well as the widely discussed notion of "reciprocal illumination" of the arts. This, together with the detailed analysis of scholarly works on Gütersloh as well as his own theoretical writings on art was seen as part of the necessary "anatomy" of the study. Although the narrational quality of the painted miniatures has been alluded to by several other critics, the inherent similarity between Gütersloh's painted and "literary miniatures" (i.e., his short prose works) is being analyzed for the first time in this study. It aims at proving the claim that the former's overriding characteristic is their distinctly narrational quality. As such the paintings are permeated with a writer's imagination, a feature which makes their narrative component as important as the pictorial. Each of these small-scale paintings depicts some crucial point in a "story," thereby forcing the viewer to imagine a "before" as well as an "after" of each specific scene — in other words, to see these paintings in epic terms.
By isolating such elements as delineation, framing, staging, setting, and colour (both descriptive and metaphorical) among others, it could be shown that the fictional miniatures give evidence of Gütersloh's persistent inclination to think, and write, in "pictures," hence to work from a largely pictorial conception: the story-line frequently is developed as a series of static "pictures" which are given as much compositional weight as the chronologically progressing plot. It could also be demonstrated that the general phenomenon of Fantastic Realism is a pronounced feature not only of the painted but also of the literary miniatures.
The conclusion the study reaches is that Gütersloh's artistic expression, whether as writer or painter, is of a much more unified nature than has previously been argued; that both forms of artistic expression are of a complementary
nature, and that this phenomenon is exemplified most succinctly in his fictional miniatures.Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Preston, Claire E. "Emblematic pictorialism and narrative structure in New Arcadia and Pericles." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293441.
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Ruan, Wei. "Topic Segmentation and Medical Named Entities Recognition for Pictorially Visualizing Health Record Summary System." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39023.
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Medical Information Visualization makes optimized use of digitized data of medical records, e.g. Electronic Medical Record. This thesis is an extended work of Pictorial Information Visualization System (PIVS) developed by Yongji Jin (Jin, 2016) Jiaren Suo (Suo, 2017) which is a graphical visualization system by picturizing patient’s medical history summary depicting patients’ medical information in order to help patients and doctors to easily capture patients’ past and present conditions. The summary information has been manually entered into the interface where the information can be taken from clinical notes.
This study proposes a methodology of automatically extracting medical information from patients’ clinical notes by using the techniques of Natural Language Processing in order to produce medical history summarization from past medical records. We develop a Named Entities Recognition system to extract the information of the medical imaging procedure (performance date, human body location, imaging results and so on) and medications (medication names, frequency and quantities) by applying the model of conditional random fields with three main features and others: word-based, part-of-speech, Metamap semantic features. Adding Metamap semantic features is a novel idea which raised the accuracy compared to previous studies. Our evaluation shows that our model has higher accuracy than others on medication extraction as a case study.
For enhancing the accuracy of entities extraction, we also propose a methodology of Topic Segmentation to clinical notes using boundary detection by determining the difference of classification probabilities of subsequence sequences, which is different from the traditional Topic Segmentation approaches such as TextTiling, TopicTiling and Beeferman Statistical Model. With Topic Segmentation combined for Named Entities Extraction, we observed higher accuracy for medication extraction compared to the case without the segmentation.
Finally, we also present a prototype of integrating our information extraction system with PIVS by simply building the database of interface coordinates and the terms of human body parts.
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Ek, Anton, and Alexander Sperring. "En jämförelse mellan ljus baserat i naturalism och pictorialism : En studie om ljussättning i spel." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-26307.
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In this study, we investigate various lighting applications in a virtual environment, where we compare between light based in naturalism (natural light) and pictorialism (artistic light). The purpose of this study is to gain further knowledge in lighting, which is increasingly important for game graphics. Theory are examined to gather information and recommendations on how to use various light settings that convey different emotions. We then use this information to illuminate the environment that we have built. The environment is presented in Unreal 4 for respondents who are allowed to move around freely in the environment. Then we carry out qualitative, semi-structured interviews at the respondents to find out what they thought of the light. The result showed that natural light did not give the same narrative effect as unnatural light.
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Monks, Christian Patrick. "The twilight years of pictorialism in Vancouver : the art photography of Percy Bentley during the Second World War." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31680.
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A period of photographic history that has remained relatively unexplored in Vancouver is art photography during the Second World War. This thesis partly redresses this historical gap by examining the pictorial photography of Percy Bentley, a well known commercial photographer who operated a studio, the Dominion Photo Company, in Vancouver for almost half a century. Among the photographs that the thesis concentrates on is Bentley's most successfully exhibited image, An Eastern Gateway, which made its debut in 1941. Why did an image of India, originally taken in 1924 when Bentley worked as the official photographer aboard a cruise ship on its maiden world tour voyage, make its appearance as a pictorial photograph 21 years later during the Second World War? During the Second World War, the government of the Dominion of Canada recognised the role that photography could play in the war; it created the National Film Board of Canada to use the power of film and photography to nurture support for the war. The wartime government also required art and professional photographers to avoid photographing or printing images of prohibited areas that might locate military and industrial sites. The response of pictorialists was to recognise the requests of the government and to adjust their photographic output accordingly. Thus, pictorialists, like Bentley, tended to produce edifying portraits of soldiers. Pictorialists aligned their views with those held by the state. While the documentary photography of the National Film Board of Canada was conscious of its ideological stance and its effort to encode public opinion, Bentley's pictorial photography was just as self-reflexive about reproducing a position which paralleled views held by Britain and its Dominions on the importance of keeping India within the Empire. During the war, India was being swept by a tide of nationalism that sought independence from the British Empire at the same time that its eastern boarder was being encroached upon by a rapidly advancing Japanese army. I argue that Bentley's image, An Eastern Gateway, was imperialistically biased. At a time of national turmoil, the photograph showed a moment from the past in which India is represented as protected by the British Raj and passive.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Wu, Shui-Jou. "Le flou : détournement de l'image d'archive chez Gerhard Richter, Christian Boltanski et Thomas Ruff." Thesis, Paris 1, 2016. https://ecm.univ-paris1.fr/nuxeo/site/esupversions/976f9ecc-8580-4715-a3dc-756130aa037b.
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Le flou, bien qu’étant un effet artistique répandu, reste victime d'une mauvaise réputation, souvent considéré comme un défaut technique ou à l'opposé d'une réflexion rationnelle et rigoureuse. Contre une telle vision réductrice notre recherche essaye de montrer, à travers un choix des œuvres de Gerhard Richter, Christian Boltanski et Thomas Ruff, que le flou est assurément un acte artistique qui engage une réflexion distancée et critique. Nous élaborons une étude comparative des processus de création de chaque artiste, ainsi qu'une analyse des caractéristiques des images d'archives qu'ils s'approprient : photographies amateurs et images de presse. Il apparaît alors que le flou constitue pour ces artistes une méthode efficace d'appropriation et de détournement. Il met d'abord en avant la matière de l'image, aux dépens de la fonction de représentation, et permet ensuite de transgresser les frontières entre peinture et photographie. Le flou est également le signe d'une distance : entre les œuvres et les spectateurs, mais aussi entre les artistes et les images appropriées. Cependant, cette mise en retrait des artistes ne les empêche pas d'exprimer une réflexion critique sur les images qu'ils utilisent. Car c'est en intégrant au sein de leurs œuvres des images d'archives dont les sujets mêlent banalité quotidienne et événements historiques majeurs, que les artistes examinent les usages sociaux et les reproductions médiatiques des images. Mais il s'avère que le flou est surtout une stratégie pour franchir les frontières entre forme et matière, objectivité et subjectivité, ou encore culture de masse et beaux-arts. Il s'agit donc avant tout d'un concept dynamique au service de la transgressionThe blur, as a widespread artistic effect, is still victim of a bad reputation, since it is usually considered to be a technical fault or the opposite of a rational and rigorous thinking. Against this reductive vision, this research tries to show, throughout a selection of artworks from Gerhard Richter, Christian Boltanski and Thomas Ruff, that the blur is an artistic act which arouses a distanced and critical reflection. We elaborate a comparative study of each artist's creation process, and an analysis of archival image features appropriated by them : amateur photographs and press images. The blur seems to represent an efficient method of appropriation and détournement. It highlights the image material in spite of its representational function, and it allows to transgress the borders between painting and photography. The blur is also sign of distance : between artworks and spectators, as well as between artists and appropriated images. However, the detachment of artists doesn't prevent them from expressing a critical thinking over images they use. For it is in integrating archival images with topics varying from daily banality and major historic events in their artworks, that the artists examine the social uses and the media reproduction of images. But the blur proved mainly to be a strategy to cross the borders between shape and material, objectivity and subjectivity, or mass culture and fine art. It is above all, a dynamic concept used for transgression
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Bauman, Emily. "Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438626.
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Thompson, Nathan. "Heke te toa! How has Hone Heke Pokai, pictorially represented, contributed to the construction of New Zealand's national identity 1840-2005?" Thesis, University of Canterbury. Art History, 2006. http://hdl.handle.net/10092/880.
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By developing a body of information about Hone Heke Pokai, the renowned Ngapuhi chief famed for 'chopping down the flagstaff at Kororareka', the objective of this dissertation is to examine his pictorial representations, thus identifying how they have contributed to New Zealand's national identity from 1840-2005. By creating an archive of images of Heke, it is my intention to examine the Ngapuhi leader in a new context. While paying homage to Heke, this dissertation also reinforces his significance, as conveyed by these images, to New Zealand national identity.
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Hodgkinson, Virginia, and virginia hodgkinson@deakin edu au. "Conventions of pictorialism (iconic imagery, perceived space and the picture plane) deconstructed and reconstructed as alternative models of perception, embodied in paintings and drawings." Deakin University, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20071127.083604.
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This thesis is concerned with conventions of pictorialism, viz. the surface of an artwork or the plane of denotation (in my case paper, canvas or wood); and iconic imagery and the depiction of perceptual space that is connotated by marks, colours and forms upon that surface. Most importantly this thesis is concerned with the relationship between these elements and the deconstruction of them. That the reconstruction of the deconstructed language can create expressive iconic structures that perhaps contain conflicting information and elements, but are simultaneously single and self-contained perceptual models of seeing the world, and the things in it, in another way; is a major focus. The thesis is embodied in the paintings and drawings which are documented in the exegesis that follows.
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Stumvoll, Denise Bujes. "Fotografia e aproximações com a arte no início do século xx : um olhar para as narrativas visuais de Lunara." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/114657.
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Esta pesquisa aborda as aproximações da fotografia com a arte em Porto Alegre na transição para o século XX, tendo como foco a “fotografia artística” de Luiz do Nascimento Ramos (1864-1937), Lunara, fotógrafo amador da Belle Époque. O ponto principal da análise proposta é o álbum intitulado Vistas de Porto Alegre - Photographias Artísticas, produzido pelos Editores Krahe & Cia, provavelmente na década de 1900, com 20 imagens originais assinadas por Lunara. A participação de Lunara no circuito social da fotografia na cidade, durante as duas primeiras décadas do século, nos mostra as redes que se estabeleceram em relação ao fotoclubismo fotográfico internacional, espaço no qual a “fotografia artística” era produzida e exibida através de uma série de protocolos que visavam nortear e delimitar um campo artístico para a imagem técnica através do movimento pictorialista. Para tanto, as relações com os fotoclubes, com outros artistas e fotógrafos, como Pedro Weingärtner, Virgílio Calegari e outro fotoamador, o Ziul, são contextualizadas aqui, como forma de entender o conceito de artisticidade, o qual alimentava, de algum modo, as práticas de Lunara. A análise que privilegiamos nesta dissertação refere-se à noção de aura benjaminiana e à visão da fotografia de Lunara como uma forma de captação de outras relações com a cidade, para além da fotografia instantânea de fotógrafos profissionais, como se o artista pretendesse produzir os rastros de uma cidade em vias de modernização. O álbum propõe, portanto, narrativas visuais singulares sobre a cidade, ao refletir a trajetória poética de Lunara tanto na escritura, como na produção de suas imagens, nas quais somos conduzidos por um olhar sensível às transformações do seu tempo.This is a study on the proximity between photography and the arts during the transition to the 20th century. It is focused on the “artistic photography” of Luiz do Nascimento Ramos (1864 to 1937), Lunara, he who was a Belle Époque amateur photographer. The most important source of the analysis is the album entitled Vistas de Porto Alegre – Photographias Artísticas, produced by Editores Krahe & Cia, probably in the early 1900s, with 20 original images signed by Lunara. Lunara participated actively in the social photography circuit in the city during the first two decades of the century and this participation shows us the network that was established with the international photo clubs, where “artistic photography” was produced and exhibited according to rules which aimed to organize an artistic field for the technical images from the pictorialist movement. In order to do so, the relations with the photo clubs, and other artists and photographers, such as Pedro Weingärtner, Virgílio Calegari and another amateur photographer, Ziul, are here contextualized to understand the concept of artisticity, which was somehow what Lunara did. We emphasize the Benjamin’s aura notion and the Lunara’s view of photography in this dissertation as a way of getting other relations with the city, beyond snapshots taken by professional photographers, as if the artist’s intention was to produce the traces of a city that is in the process of modernization. Accordingly, the album suggests novel visual narratives about the city because it reflects Lunara’s poetic trajectory on what is written and on its images, through which we are taken by a sensitive look at the changes of its times.
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Faure-Conorton, Julien. "Caractérisation, contextualisation et réception de la production photographique de Robert Demachy (1859-1936)." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0035.
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De 1894 à 1914, Robert Demachy fut le chef de file de l'école française de photographie artistique et l'excellence de ses œuvres fit connaître son nom dans le monde entier. Aujourd'hui encore, ce pilier du Photo-Club de Paris, considéré comme l'un des meilleurs représentants du « pictorialisme », reste l'une des gloires de la photographie française. Pourtant, son œuvre n'avait encore jamais fait l'objet d'une étude exhaustive. C'est le propos de cette thèse qui ne se limite pas à l'évocation de l'aventure pictorialiste mais se penche sur toutes les périodes et tous les aspects de sa production. Près de 6000 œuvres originales de toutes natures y sont ainsi prises en compte : négatifs, épreuves, albums, plaques de projection, etc. Praticien virtuose, apôtre des procédés pigmentaires (gomme bichromatée, huile, report d'huile), Demachy fut également un écrivain prolifique et ses articles eurent une influence considérable sur l'essor et la légitimation de l'art photographique, de ses notices techniques à ses essais théoriques (notamment contre la « photographie pure »). Il joua par ailleurs un rôle essentiel de médiateur, en France, du pictorialisme international, principalement anglais (Linked Ring) et américain (Photo-Secession d'Alfred Stieglitz). Cette thèse examine également ses rapports avec les artistes de son temps ainsi que la diffusion de son œuvre (photographies originales, écrits, photogravures) dont la réception critique s'avère extrêmement révélatrice. Souhaitant replacer la notion de « pratique d'amateur » au cœur de l'étude du pictorialisme, cette thèse s'attache en outre à retracer la vie personnelle de Robert Demachy, indissociable de son œuvreFrom 1894 to 1914, Robert Demachy was the leader of French pictorial photography and his name became famous worldwide thanks to the excellence of his works. Touchstone of the Photo-Club de Paris, he is still considered today as one of the best "pictorialists" and remains one of the most important names in the history of French photography. Yet, until now, his work had never been studied extensively. This is the purpose of this thesis, which is not limited to the study of the pictorialist adventure but embraces all the phases and all the aspects of his work. Almost 6000 original works of all kinds have been taken into account: negatives, prints, albums, glass slides, etc. Great technician, apostle of the pigment processes (gum bichromate, oil, oil transfer), Robert Demachy was also a prolific writer and his numerous articles had a decisive influence on the growth and legitimization of pictorial photography, from his technical instructions to his theoretical essays (notably those against "straight photography"). He also played a key role in the development of foreign pictorialism in France, especially British (Linked Ring) and American (Alfred Stieglitz's Photo-Secession). This thesis also examines his links with contemporary artists (painters, engravers) and the spreading of his work (prints, writings, photo-engravings), the reception of which is highly revealing. Wishing to replace the idea of "amateur photography" at the core of the study of pictorialism, this thesis also endeavours to recount Robert Demachy's personal life, which is inseparable from his work. All this contributes to put things in perspective and to give a new dimension and a new meaning to his work
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Yeo, Mun-Ju. "Kitsch et photographie : étude historique du kitsch et de son statut dans la photographie (XIXe et XXe siècles)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100037.
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Apparu vers le milieu du XIXe siècle comme jargon dans les cercles artistiques munichois désignant une image de piètre qualité, bon marché, le mot kitsch s’utilise aujourd’hui non seulement dans le monde de l’art mais aussi dans la vie quotidienne toujours avec un sens fortement péjoratif. Considéré en général comme « mauvais goût », « art sans valeur », « camelote artistique », ou « art vulgaire », le kitsch n’est pourtant pas un concept qui demeure seulement dans une dimension esthétique ou artistique. Les divers phénomènes historiques du kitsch, émergés dans le contexte de la modernité, comme « la bib[e]lotomanie », « le roman-feuilleton », « l’art pompier » en France au XIXe siècle, ou encore « la peinture de salon de coiffure » en Corée au XXe siècle, trahissent tous que le kitsch est en effet une attitude que l’homme adopte vis-à-vis de son existence et du monde dans la réalité. L’essentiel de ce concept réside donc dans sa négation ou mieux dans sa fuite de la réalité. Voilà pourquoi la photographie se présente comme un médium qui mérite d’être étudié en rapport avec le kitsch. Médium qui a un lien spécifique par excellence avec le réel, elle ne cesse de faire ontologiquement le va-et-vient entre le présent et le passé, l’instantanéité et l’éternel, l’ici et l’ailleurs, le sujet et l’objet, la vie et la mort, etc. C’est en effet à cause de cette ontologie paradoxale que la photo peut devenir, selon « l’acte photographique », non seulement de l’art mais aussi du kitsch. Ainsi, l’attitude envers ce dernier que les artistes laissent apercevoir à travers leur œuvre photographique s’avère extrêmement variée, et ambiguë, voire même contradictoire tout comme chez Pierre et Gilles, Vik Muniz, Sebastião Salgado et Oliviero ToscaniAppeared in the mid-nineteenth century as a jargon in the artistic circles of Munich designating a cheap image of poor quality, the term “kitsch” is used today not only in the art world, but also in everyday life, always with strongly pejorative sense. Generally considered as “bad taste”, “worthless art”, “artistic junk” or “vulgar art”, kitsch, however, is not a concept that remains only in aesthetic or artistic field ?. Various historical phenomena of kitsch which had been all emerged in the context of modernity, such as “bib[e]lotomanie”, “serialized novel”, “academic art” in France in the nineteenth century, or “barbershop’s painting” in Korea in the twentieth century, show that kitsch is indeed an attitude of human being toward his own existence and the world. The essence of this concept lies therefore in his negation of reality, or better in his escape from reality. That’s why photography deserves to be studied in relation with the kitsch. Having a specific link with the reality, the medium oscillate ontologically between the present and the past, the instant and the eternity, the here and the elsewhere, the subject and the object, the life and the death, etc. It is indeed because of this paradoxical ontology that the photography can become, according to the “acte photographique” not just art but also kitsch. Thus, the attitude to the latter the artists let reveal through their photographic work turn out extremely varied and ambiguous, even contradictory such as it does in the work of Pierre et Gilles, Vik Muniz, Sebastião Salgado and Oliviero Toscani
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Orain, Hélène. "Pure Photography : la photographie pure en Grande-Bretagne, matière à discours (1860-1917)." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H058.
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Cette étude est une analyse de l’évolution de la notion de photographie pure, dans les discours en Grande-Bretagne, entre 1860 et 1917. Définie comme une image non retouchée ni manipulée, la photographie pure est envisagée en miroir de la retouche et des interventions sur les négatifs et positifs. Une exploration des journaux britanniques a mis en lumière cette préoccupation constante pour la définition et la légitimité des moyens de la photographie. Premièrement, la question des combination printings, de la notion de vérité comme essence de la photographie ainsi que l’aspect des images photographiques sont source de débats. Les discours d’acceptation et de rejet des pratiques de ciels rapportés, de coloriage et de la retouche apportent un éclairage sur la genèse de la retouche. Ces points, corrélés à la présence de la photographie pure dans les expositions, soulignent l’émergence d’une volonté puriste dès les années 1860. Enfin, les discours sur la photographie pure de Peter Henry Emerson et de Frederick H. Evans sont mis en parallèle et contextualisés au sein du pictorialisme, pour mieux en dessiner la définition. Ainsi se relient, dans ces débats sur la pureté, les limites de l’expérimentation et les aspects de la photographie, les figures d'Alfred H. Wall, Oscar Gustav Rejlander, Julia Margaret Cameron, Robert Demachy, Alvin Langdon Coburn et Alfred Stieglitz. Leurs discours et leurs recherches éclairent un idéal à atteindre, difficilement applicable, un mythe plus qu’une réalitéThis study is an analysis of the evolution of the notion of pure photography, in discourses happening in Great Britain between 1860 and 1917. Defined as a photograph that is neither retouched nor manipulated, pure photography is envisaged in regard to retouching and negative and positive interventions. An exploration of British periodicals has brought to light the constant preoccupation for the definition and legitimacy of the photographic tools. First, the question of combination printings, the notion of truth as the essence of photography and the aspect of photographic images are a source of debate. The discourses of acceptance and rejection of practices such as printing-in clouds, colouring and retouching shine light on the genesis of retouching. These aspects, paralleled with the presence of pure photography in exhibitions, highlight the emergence of a purist aspiration as early as 1860. Finally, the discourses of Peter Henry Emerson and Frederick H. Evans on pure photography are confronted and contextualized within pictorialism, to further its definition. Thus, through these debates on purity, the limits of experimentation and the aspects of photography, the figures of Alfred H. Wall, Oscar Gustav Rejlander, Julia Margaret Cameron, Robert Demachy, Alvin Langdon Coburn and Alfred Stieglitz are connecting. Their discourses and research put forth an ideal, out of reach, impractical, a myth more than a reality
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Jau-chun, Lin, and 林照鈞. "Jeff Wall The Pictoriality in Photography." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/19862977700837927764.
Full textAbstract:
碩士國立臺灣藝術大學
造形藝術研究所
97
English Abstract Plenty of Media to display Contemporary Art nowadays, for instance, Photography, Installation Art, Video Art, Animation Art and so on. The new Media derived from the expression of pictoriality are becoming modern element to the production of art that encompass the new influences of new media technology and nature of Pictorial Arts to enrich the artwork itself. The classic pictoriality is the theories developed around the Photograph of Jeff Wall. He adopted the elements especially from the well-known Paintings in the Art History and included the aesthetic signification, art structure of a traditional painting; Furthermore, Jeff Wall’s works advanced an argument for the limit between Pictorial Arts and Photography, challenged the essence of Photography and aestheticism of Traditional Art. The article herein is to discuss the association between Jeff Wall’s photographic works and traditional Pictorial Arts, and transform the ability of light, Picture Box, scenery, the composition and Iconography of the Paintings into the element of a photograph; and changes to the essence of the photograph after the influence of the Paintings. The Representation for Photography is redefined after the flashy luster is crumbled and the character of reality and documentary is challenged, it entirely changed inter- subjectivity with the artworks as well as the traditional photography. Between Pictorial Arts and Visual Arts which has a history of the origins, continuously influence each other. The Visual Art is a Snapshot after the prevalence of the Digital Imaging when the interpenetrating occurred between pictorial and photography and joint structure of the artworks; it is not the shutter to solely define “instantaneous”, the nature of the time and realism are a distinct factor to the artwork from what we used to experience. The visual image is not anymore realistic, it existed between realty and hallucinatory, producing a variation to the visual image and became an Artificial Reality instead. The Paintings at the trend of the event is not die away when many of the negative comments by critics, on the contrary it expanded its own way characteristically. Key words：Pictoriality, inter-subjectivity, Artificial Reality , Representation, variation, variation, hallucinatory, apophany
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Strong, David Calvin. "Sidney Carter (1880-1956) and the politics of pictorialism." Thesis, 1994. http://spectrum.library.concordia.ca/78/1/MQ90890.pdf.
Full textAbstract:
Pictorialism, a fine art movement in photography, first emerged in western Europe, and quickly spread to North America, around the turn of the century. The career of Sidney Robert Carter (Toronto 1880-1956 Montreal), a leading proponent of the movement in Canada, provides a window onto the Canadian experience, and furnishes an opportunity for the consideration of the particular nature of cultural transmission, specifically, the notion of the "international" art movement and its reception in colonial cultures. Pictorialists distanced themselves from both commercial photographers and the established camera club circuit, and sought out more prestigious alignments within the larger art milieu. In this thesis Carter's career as a Pictorialist is traced, beginning with his ambivalent relationship with the Toronto Camera Club, proceeding through his election to the Photo-Secession, his attempts to organize a parallel group of photographers in Canada, and culminating in his organization of an international exhibition of pictorial photographs in Montreal in 1907.
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Chang, Che-yan, and 張哲彥. "The Imagery of the Male Body in Fred Holland Day's Pictorialist Photography." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/97717771880083277093.
Full textAbstract:
碩士國立中央大學
藝術學研究所
102
Since photography was invented, it has been related with recording Nature. However, the Pictorialists used hand-crafted techniques and soft-focus lenses to offset the objectivity of pictures. They also introduced some artistic subjects into their works. These photographic skills were put to good use by American photographer Fred Holland Day (1864-1933), and his pictures are rich in black-and-white tones. Day strove to explore the relationships between photography and painting. When it comes to the history of photography, Day’s artistic achievement may not be superior to his competitor Alfred Stieglitz (1864-1946). His works have been examined in the context of gender study since the twentieth-century, focusing on his homosexual sentiment. This thesis concentrates on the imagery of the male body in Day’s works, and investigates the bonds between his photography and the formal elements of paintings by means of comparative analysis. As a publisher, Day has an opportunity to be associated with the writers and artists in his time. Their thoughts and works benefit the development of his photographic aesthetics. On the one hand, Day chose the male body as a subject, as it related to his philanthropic career; on the other hand, he tried to find some similarities between photography and painting. Day represented religious or mythical figures by dressing up as Christ, Hypnos, Saint Sebastian and Orpheus. Meanwhile, these figures were the ideal subjects among Symbolist artists. In the first chapter, I trace Day’s life and artistic formation; it involves his relations to Pictorialism and the Lincked Ring Brotherhood. Focused on Day’s early pictures, I discuss the connection between his photographic ideas and works. I also analyze his unique ways to represent the issue of sexuality, and the stylistic differences between his photographs and those of other pictorialists. In chapter two, I stress on Day’s series of sacred subjects. He played Christ and cast the youth as Sebastian, trying to prove that photography can represent sacred art. His strategies differ from the scientific pictures at that time. The third chapter pays attention to Day’s works after 1904; these pictures were mostly taken in the natural surroundings. The youths were dressed up like mythical figures such as Orpheus, freeing themselves from their social class or identity. Performance was a means to prove the idea of art for art’s sake, rather than as a way for social reform. Searching for the expressive possibilities in the realm of male body, Day’s art manifests a photographer’s subjectivity. His legacy also inspires contemporary artists nowadays.
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黃華安. "Lang, Jing-Shan (1892-1995)and the Study on Contemporary Development of Chinese Pictorialism." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/93653739417828057927.
Full textAbstract:
碩士佛光大學
藝術學研究所
100
The master photographer of the time, Lang, Jing-Shan, through his solid groundwork for Chinese poetry, painting and calligraphy, combined pictorial photography with composite photography, not merely breaking through the artistic limitation, in which the nature of images is way too realistic and far less imaginary than poetry, painting and calligraphy, but successfully developing an original and unique scholarly Chinese pictorialism as well, out of the artisitic atmosphere of the time led almost entirely by Western and Japanese realistic photography. Despite the seemingly limited images, the affections shown in Lang's work, however, are unbounded, which not only demonstrates the aesthetics of traditional Chinese ink and wash landscapes, but also corresponds to the unworldly, peaceful and isolated philosophies and world views, as were pursued by the scholars in Song and Yuan Dynasty. Nevertheless, there is no denying that just as many scholars and experts have commented, the post-Lang pictorialism lost the originality easily, quite a few of which turned out to deal with only love affairs, greatly alienated from the society and losing the most important strength of striking a chord with the people of the time in their works. Therefore in this study, it is the key concern how successors today are supposed to inherit the rich and profound traditional culture elements and to create contemporary vitality in their photographic pieces of work in order to lay influences on the society and to recover the dominant position and interpretation right of Chinese photography. As the post-production in photography along with the integrated multi-media expression have become popular artistic forms at present, we may as well acknowledge different artistic styles with a more tolerant attitude. Well goes an old Chinese saying, "Improvement can be made by drawing on the experiences of others." To get out of the current predicament, new artistic techniques and aesthetic concepts from several contemporary master photographers are employed to hopefullly arouse new energy and mindset in creation to raise pictorialism to a further level, as was expected by another master photographer, Feng, Si-Zhi, " Real works of art can change people's environment, life, and thoughts with a kind of touching power." Also at the same time, with a series of colletions from two pictorial photographers of the time, Zhou, Zhi-Gang and Chang, Wu-Jun, all kinds of possibilities of developing pictorialism in modern days are further discussed.
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Tallon, Laura. "“To Vindicate her Beauty’s Cause”: the sister arts and women poets, 1680-1790." Thesis, 2016. https://hdl.handle.net/2144/17864.
Full textAbstract:
This dissertation offers a new literary history of the tradition of the “sister arts” in England during the eighteenth and early nineteenth centuries. While previous scholarship has explored how canonical male poets conceived of their poetry in relation to painting, this project demonstrates that female poets also engaged in various forms of literary pictorialism. By attending to the work of these women writers alongside their male contemporaries, we gain a richer and more complex understanding of how poets evaluated the boundaries between verbal expression and visual composition. In line with my aim to offer a more nuanced historical account of the sister arts by including the contributions of women writers, I also examine the gendered conventions of this tradition.
In my first chapter, I contend that poetry written by Anne Killigrew and Anne Finch calls into question common critical assumptions about the power dynamics of ekphrasis (the verbal description of visual art). The second chapter explores how Anna Barbauld, Anna Seward, and Amelia Opie respond to the influential model for verse epistles on the sister arts established by John Dryden and Alexander Pope, which assumes that poets and artists are male while the muses and objects of representation are female. In the third chapter, I argue that concepts derived from visual art animate the elegiac practices of Thomas Gray and Anna Seward, as they explore how acts of gazing can manifest same-sex desire. My final chapter shows how the concept of fancy, represented either as a mental creative process contrasted with imagination or as a personified female figure, comes to be associated with both visual power and femininity. I trace this poetics of fancy from essays by John Locke and Joseph Addison to Pope’s Eloisa to Abelard, the odes of William Collins, the sonnets of Charlotte Smith, and Visions of the Daughters of Albion by William Blake. The qualities that lead some writers to denigrate fancy—its association with femininity rather than masculinity, dreams rather than reality, and temptation or liberation rather than constraint—are precisely the same qualities that lead the major pictorial poets to seek to internalize it.2018-08-11T00:00:00Z
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Drost, Christian [Verfasser]. "Illuminating Poe : the reflection of Edgar Allan Poe's pictorialism in the illustrations for the 'Tales of the grotesque and arabesque' / vorgelegt von Christian Drost." 2007. http://d-nb.info/984610901/34.
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Arnold, Grant. "The terminal city and the rhetoric of utopia: John Vanderpant’s photographs of terminal grain elevators." Thesis, 1996. http://hdl.handle.net/2429/4342.
Full textAbstract:
This thesis examines the photographs of terminal grain elevators
produced by John Vanderpant, a successful Vancouver commercial
photographer who also produced images that were consciously positioned
within a high art discourse. Vanderpant turned to the grain elevator as subject
matter in response to the remarks of an unidentified English critic who, while
praising the images in a 1925 London exhibition of Vanderpant's work, noted
they lacked an identifiably Canadian character. In taking up the grain elevator,
Vanderpant positioned his work within the national visual culture constructed
around the work of the Group of Seven. He also tapped into symbolic
meanings which resonated around the elevator's modern functional
architecture, an architecture which has been held up by Le Corbusier as a
specifically North American expression of the engineer's rigor and purpose. In
the midst of the prosperity enjoyed by Vancouver's urban bourgeoisie during
the mid-1920s, the terminal elevators operating on Burrard Inlet embodied the
promise of abundance held out by an increasingly centralized and modernized
resource economy.
Vanderpant's earliest elevator photographs employed the stylistics of
Pictorialism, a genre of photography that relied on soft focus and hazy
atmospheric effect to suggest a painterly surface. In response to the tension
between his formal vocabulary and the modernity of his subject matter,
Vanderpant rejected Pictorialism as a mode of representation that "travelled by
horsecart midst the progress of motor power on wheel and wing." Throughout
the 1930s he worked within a modernist idiom that emphasized what were seen
to be the intrinsic properties of photographic technology: sharp focus, clearly delineated form, and tilted perspective. His modernist elevator photographs
verged on geometric abstraction, in an attempt to penetrate "superficial
appearance" and reveal the underlying "strength and sublime simplicity" of the
elevator's structure. Combining an interest in mysticism and a Kantian
understanding of aesthetic experience, Vanderpant accessed a version of
modernism that held onto an optimistic, Utopian vision in the face of the social
fragmentation of the Depression.
My thesis addresses the position of Vanderpant's elevator photographs,
and the shift in his aesthetic vocabulary marked out by these works, in relation
to the construction of a national movement in Canadian visual art and an
historical context in which the state and capital were employing specific
measures to unify and transform a fractured social body. I argue that, within this
context, Vanderpant's project was fragile and contradictory. Despite the antimaterialism
he articulated as the Depression advanced, the ideological force of
Vanderpant's Utopian vision would seem to have been aligned with the forms of
modern scientific discipline, such as Taylorism, that promised Utopia through
success in production while naturalizing dominative social relations.
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Masse, Isabelle. "Face aux portraits photographiques de Sally Mann. La série "What Remains" (2000-2004)." Thèse, 2012. http://hdl.handle.net/1866/8783.
Full textAbstract:
Le portrait captive lorsqu’il est envisagé comme présence humaine et qu’il tend à se soustraire à l’interprétation analytique. Prenant appui sur ce constat, le mémoire se penche sur la réponse spectatorielle induite par des portraits photographiques dont l’opacité pose un défi à l’attribution de significations précises. Ces portraits, qui abordent le thème de la mort, appartiennent au corpus "What Remains" (2000-2004) de l’artiste américaine Sally Mann. Ils réactualisent le procédé obsolète du collodion, revisitent le vocabulaire formel du pictorialisme et évoquent l’imagerie mortuaire du 19e siècle. Par ces citations historiques, les œuvres gênent la lecture du référent et introduisent des renversements de sens: elles troublent toute certitude dans la perception et toute littéralité dans l’interprétation. Le mémoire étudie les diverses stratégies citationnelles à la source de cette opacification et examine comment celles-ci tendent à établir les conditions de l’expérience esthétique. Après avoir réévalué certains présupposés théoriques sur la photographie, les paramètres techniques, formels et iconographiques des œuvres sont passés en revue afin d’évaluer leur impact respectif. En s’appuyant sur un cadre issu de la théorie des médias et de la psychanalyse, le travail du médium émerge comme le principal déterminant de l’expérience de ces portraits contemporains.Portraits captivate when they are considered as human presence and they tend to evade analytical interpretation. Building on this observation, the dissertation addresses the viewer’s response to photographic portraits whose ambiguity challenges attribution of precise meanings. These portraits, which deal with the theme of death, belong to the "What Remains" corpus (2000-2004) of American artist Sally Mann. They re-actualize the old wet collodion process, revisit the formal vocabulary of Pictorialism and evoke 19th century mortuary imagery. Through these historical quotations, the artworks hinder the readability of the referent and produce reversals of meaning: they blur any certainty in perception and any literal interpretation. The dissertation first discusses the various quotation strategies leading to this ambiguity and then examines how they tend to establish the conditions of the aesthetic experience. After re-evaluating some theoretical assumptions about photography, the technical, formal and iconographic parameters are reviewed to assess their respective impact. Based on a framework derived from media theory and psychoanalysis, the work of the medium emerges as the key determinant of the experience of these contemporary portraits.
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Pichler, Dominika. "Autor a autorství ve fotografii v první polovině 20. století v českých zemích." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369981.
Full textAbstract:
The diploma thesis deals with the concepts of author and authorship in the photography of the Czech lands in the first half of the 20th century, taking into account the international influence, essential from the perspective of the development of photography in this region. This given era became a fruitful and manifold stage of development of the "fine art" photography and of the interest in the photographer himself. The thesis starts by giving a brief evaluation of the changing role of a photographer as an author since the very invention of photography. It then focuses on pictorialism and via the beginnings of modern photography moves on to discuss the avant-garde. In each particular development period the thesis finds outstanding authors as well as specific issues related to the subject matter of authorship, and by means of that also points out the power of an individual who is able to influence an entire generational movement. By unfolding individual development of particular authors (Drahomír Josef Růžička, František Drtikol, Josef Sudek, Jaromír Funke, Eugen Wiškovský, Jindřich Štýrský) the thesis aims to prove that every single style period in the history of photography bears specific significance for the next period; although this influence is often denied by the authors themselves in...