Dissertations / Theses on the topic 'Préraphaélisme'
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Brogniez, Laurence. "Préraphaélisme et symbolisme: discours critique et création littéraire en France et en Belgique (1880-1900)." Doctoral thesis, Universite Libre de Bruxelles, 1998. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211998.
Full textMennillo, Oscar. "La Peinture et la thématique de l'imaginaire de D. G. Rossetti : du Préraphaélisme à l'inspiration italienne." Aix-Marseille 1, 1986. http://www.theses.fr/1987AIX10031.
Full textGerard, Dubernard-Laurent Annie. "Le pré-raphaélisme en Angleterre, les arts et les lettres en France : essai d'étude comparative." Paris 4, 1996. http://www.theses.fr/1995PA040306.
Full textThe English pre-Raphaelite movement presents a variety of aspects which have features in common with French painting and poetry. The aim of this study is to bring forward and analyze some of these aspects: for example it tries to show the similarities and differences between the "realism" in the earliest pre-Raphaelite paintings and the French so-called "réalisme" as exemplified by Courbet and some of his contemporaries in their way of portraying the sacred, people at work, and social problems. It shows how avant-gardists such as Merimee, Lecoq de Boisbaudran and Charles Blanc one looked up to British reformists - who they thought were mainly pre-Raphaelites - in the teaching of the arts and the conception of museums. It then goes on to show how pre-Raphaelite works (painting and poetry) and ideas penetrated the French cultural environment through the exhibitions and the press. Burne-Jones's impact on the work of some symbolist poets and painters is also examined. The conclusion suggests a synthesis between various forms of pre-Raphaelitism (German, English and French)
Alibert, Florence. "La question du livre en Europe autour de 1900 : William Morris et son cercle : une esthétique hétérodoxe." Paris 1, 2011. http://www.theses.fr/2011PA010594.
Full textRigal, Raphaël. "Combler la faille : Dante Gabriel Rossetti, les Préraphaélites, et la modernité." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL128.pdf.
Full textIn reaction to a dull, never-changing Royal Academy, and announcing movements focused on sheer aesthetic beauty, the Pre-Raphaelite Brotherhood is often seen as wrapped in a long, hazy, melancholy reverie. William Morris’s political commitment spares him such labelling, but Dante Gabriel Rossetti and his disciples are often associated with past-obsessed aesthetics. Taking a stand against such a bias, this dissertation emphasises the political aspects of their work, and the scope of their philosophical and ideological commitments. By interweaving a cultural and historicist perspective with the formal and aesthetic sides of their art, this study of a representative set of Pre-Raphaelite paintings and poems seeks to identify the political attitudes underlying their art. Through the prisms of 19th century theoretical texts and reflections by thinkers of modernity, counter-modernity, and alter-modernity, this analysis probes the idea that rifts and faultlines represent both displacements and a creative principle, while simultaneously opening the way to a permanent challenging of dominant ideology and offering an alternative to subversion. The artistic twist on the faultline concept makes the Pre-Raphaelites craftsmen of a quiet revolution, meant to effect a deep transformation of Victorian society and art
Williams-Zarka, Isabelle. "Deux femmes préraphaélites : Elizabeth Siddal et Georgiana Burne-Jones : réalité sociale et dépendance artistique au sein du mouvement préraphaélite." Paris 4, 1995. http://www.theses.fr/1995PA040067.
Full textIn spite of their silence and beyond the allegory of their image, some pre-Raphaelite women managed to leave an open testimony of the ideology of the movement. Elizabeth Siddal and Georgiana Burne-Jones are the only pre-Raphaelite women to have dared an open commentary on the destiny of the pre-Raphaelite woman. Their works and realizations speak of the freedom of action and thought the pre-Raphaelites entrusted women with, yet they also speak of the alienation of the icon of femininity both women were called upon to embody. Their message is essentially modern in a much as it revolves around the difficulty both women experienced as they tried to find their place in a typically masculine socio-professional and ideological environment
Lassus, Saint-Geniès Gabrielle de. "La figure mariale dans les arts en Angleterre au XIXe siècle." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE5001.
Full textWell over a century after the end of the Victorian era, one can still attract a new perspective on the iconography of female British art of this period by observing the representations of Marian resurgence. The return of the Virgin Mary figure in England appears to be problematic in many aspects - artistic, moral, social, historic and religious - which this thesis attempts to analyze. This thesis also seeks to understand and demonstrate how and why this country, in light of the fierce resistance of such representation once distinctive of the political and religious view in Britain, has shifted from an almost non-existent stance of such movement into its acceptance in a nineteen century of eclecticism and internationalism. Moreover, this thesis aims on one hand to defend the idea of an unfamiliar but genuine "English Madonna" and on the other hand to further establish the very fact of Marian resurgence in British cultural and geographical milieu. Likewise, this thesis will examine the influence of the Royal Academy of Arts, the Oxford Movement, the Catholic Revival, the Grand Tour, Romanticism, the Gothic Revival, Nazarene and Pre-Raphaelite movement, Orientalism, Aestheticism and Symbolism. Herewith, the following diverse arts are taken into consideration: painting, sculpture, architecture, music, stained glass, engraving, book art, poetry, jewelry, literature, textiles and photography. These unorthodox representations intermingle with those of Queen Victoria and those of the English woman, offering a unique phenomenon of a sacred iconography, namely the worship of "Madonnas secular" through an explicitly Marian or implicitly sacred inspirational image
Roussillon-Constanty, Laurence. "Méduse au miroir : la quête du regard dans la peinture et la poésie de Dante Gabriel Rossetti." Grenoble 3, 2001. http://www.theses.fr/2001GRE39022.
Full textGillet, Fanny. "Saisie/dessaisissement : enjeux de l'unité texte/image chez Keats, Tennyson, Rossetti et dans l'art préraphaélite." Toulouse 2, 2008. http://www.theses.fr/2008TOU20101.
Full textThis dissertation on word and image focuses on the relationship connecting Keats, Tennyson, Rossetti's poetry and Pre-Raphaelite art, be it through visual representations of poems, ekphrastic works, illustrated books, or Rossetti's “double works” of art linking poem and painting. This strong link partly results from the persistence in nineteenth-century England of the powerful tradition of ut pictura poesis, a comparison by Horace which has been used to blend poetry and painting, as if they were mirror images of each other. However, since they remain heterogeneous forms of art, each with its own codes and modes of apprehension, we can wonder whether simultaneous perception may entail no uneasiness. Indeed, being a reader/viewer implies, from the very start, abandoning some habits of perception. Even as we try to maintain the uniqueness of each work of art, doublings, mirroring effects debunk stable interpretation. If we admit this form of amazement implied by word and image, there might be a way of considering them as a whole, each aspiring to find completeness by including the other: only then may they become inseparable “halves”. There still exists a potentially painful interstice between the two that the art of inachievement, through sketches or suspension, sublimates, creating a more complex unity, a dynamic process aiming to grasp both poetry and painting, in which the reader/viewer enters the path of labyrinthine a(maze)ment
Laurent, Béatrice. "Tradition et subversion : l'iconographie religieuse des peintres préraphaélites en Angleterre (1848-1860)." Avignon, 2000. http://www.theses.fr/2000AVIG1028.
Full textThomas, Virginie. "Les représentations de la femme dans les transpositions des légendes arthuriennes au XIXe siècle et au début du XXe siècle." Grenoble 3, 2009. http://www.theses.fr/2009GRE39045.
Full textIn the 19th century and at the beginning of the 20th, an arthurian revival took place in british litterature and painting. Many preraphaelite painters, but also several famous writers (like Scott, Wordsworth, Tennyson, Arnold, Morris, Swinburne, Hardy, Eliot, just to name a few of them) were deeply inspired by the world of Camelot and, more particulary, by the women who live at Arthur's court. Our diachronic study aims at underlining the evolution of the reprentation of those women : they progressively came into the limelight during the romantic period before disappearing once more during the modernist period to give way to the grail theme, the symbol of the existentialist quest led by the artists of the time. The victorian period was the most flourishing for the representation of woman. Nevertheless, it should not be dealt with separately from the historical context of those transpositions, that is to say the victorian society which was characterized by its dualist vision of feminity : the angel in the house confronted the fallen woman. The representation of woman became a screen for or against desire. The arthurian legends were used to warn against the destructive potential of feminine sensuality ; or, on the opposite, they offered room for the possible satisfaction of the male sexual drives of the author or of the reader/spectator through an artistic sublimation. As a consequence, behind the face of the arthurian woman, the sexual and artistic fantasies of the victorian writers and preraphaelite painters - stifled by the social standards of their time - can be discerned
Jobert, Barthélémy. "La réception de l'école anglaise en France, 1802-1878 : un aspect des relations artistiques franco-britanniques au dix-neuvième siècle." Paris 4, 1995. http://www.theses.fr/1995PA040006.
Full textAnderlini, Martine. "Edward Burne-Jones ou Eduardo Della Francesca ? : les processus de création et les références de Sir Edward Burne-Jones." Bordeaux 3, 2003. http://www.theses.fr/2003BOR30019.
Full textBurne-Jones, a 19th C. British painter, has widely used the references for his creations. This study, mainly based on primary sources, paintings, decorative arts, correspondence, etc. . . , is about various aspects of his creative preocess : influence of his contemporaries, sources material, he had, and use of these sources. We also try to define what is borrowed and what is pure Burne-Jones. This thesis turns out to be a study about what a painter may have understood and taken from Quattocento's art, and the arts of others periods, and we can consider the artist acted as an historian of art, paintings replacing books he might have written, the role of the reference also appears to be the best way to make possible a pure imaginative world, a land no one can define, only desire, a marvellous alternative to the industrial civilization he was living in, but so unsatisfying to him
Enjoubault, Mélody. "Écriture de la spécularité dans l’oeuvre poétique de Christina Rossetti." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040157.
Full textThe purpose of this work, which is dedicated to Christina Rossetti’s poetry, is to step away from the biographical bias which has been the norm in the criticism about Christina Rossetti since her death in 1894. This study, based on the close analysis of the prosodic and formal choices, shows that the poetical voice is above all a construction. Finding the mirror within the text reveals important elements to understand the complex relationship between identity and alterity which, in many ways, defines Rossetti’s style. The examination of the voices that can be heard within her poems, may they be intertextual or fictional, shows how Rossetti manages to create a harmonious and timeless voice out of what strikes as diverse and contradictory. However, despite its apparent regularity, the work, through repetition, undergoes a constant self-redefinition negating the notion of origin or definite version: re-presentation, différance, and perpetual re-writing give the reader a text that keeps eluding him/her. This refusal of finitude hints at another ambition, that of reaching a “beyondˮ which is no longer religious — many of her poems express a wish to make one with the divine — but poetical: through an intimate relationship between God, the poet and the text; through the manipulation of the form, which Rossetti’s treatment of the sonnet examplifies; and finally through the poet’s renewed use of words. As an English poet with Italian origins, Rossetti inserts her bilingualism within the poetical voice and thereby creates interactions that result in a hybrid language and a relationship to words freed from habit and automatic reflex to reach enhanced expressivity
Baillet-Dassy, Françoise. "Entre réprobation et fasciation : la critique paradoxale adressée par george du Maurier aux préraphaélites et aux esthètes." Paris 4, 2002. http://www.theses.fr/2002PA040118.
Full textDuring the thirty-two years when he worked for Punch, George du Maurier (1834-1896) was the author of an ambiguous criticism of the Pre-Raphaelite and Aesthetic Movements. Constantly wavering between pastiche and parody, du Maurier's satire appears, at first sight, as intelligible and virulent. The illustrator denounces the impropriety of the "Fleshy School of Poetry" through both caricature, verbal and physical, and reproduction of many Pre-Raphaelite literary and pictorial masterpieces. However, as a member of the Once A Week and Good Words staff - which, at the time, also employed the great names of the Brotherhood - du Maurier adopts a rather paradoxical stance on those artists, whose themes and pictorial language he shares, to a certain extent. Beyond his personal motivations, what du Maurier defends through his long-lasting attack concerns the social structure - and, in particular, the family - supposedly endangered by the way of thinking of the men he criticises
Bernot, Marine. "Ford Madox Ford (1873-1939) en quête d'identité : chroniques et vagabondages impressionnistes." Electronic Thesis or Diss., Toulon, 2017. http://www.theses.fr/2017TOUL3001.
Full textFord Madox Ford is one of the most important figures, not only of English literature butof the Western European cultural and artistic world of the twentieth century. Closelyconnected with Henry James and Joseph Conrad (with whom he wrote three novels incollaboration), Ford played a vital role as editor, contributor to literary impression and aspioneer of “modernism”. Cosmopolitan by birth (English, German, French), this tirelessvoyager, torn between England, the United States and France (especially Provence, hischosen domain and Toulon), Ford is the author of a voluminous sum of publicationsmade up of more than 80 books and other items. The author of this thesis, Marine Bernot,has chosen to concentrate on a dozen or so memoirs covering the years going from 1904to 1937, focusing particularly on two travel ‘novels’, Provence and The Great TradeRoute. These works, which give an original insight into the first half of the twentiethcentury, introduce the reader to an original and complex personality – politicallyadvanced, feminist, non-conformist, ecologist ahead of his times, visionary –, a man inharmony with contemporary preoccupations
Pouffary, Yaël. "Emily Dickinson : le courant ophélien, poésie et représentations picturales." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2008.
Full textThe Essence of Ophelia within the poetry and life of the poet is unveiled, based on a comparative study of Emily Dickinson and the diverse uses of Ophelia throughout time. This allows to put into evidence the undeniable influence of this so-called ‘minor’ character on Emily Dickinson’s imagination, and her ‘major’ role on the poet and her art. Jean-Luc Nancy explains that there is a point where text and image fuse, where their borders blur and it results in a creation of a non-figurative image – which thus relies solely on individuals’ senses. Ophelia’s symbolism has an abundant amount of layers which allows innumerable interpretations, embellished by The Poet (as defined by Emerson). By leaning faithfully on Horace’s doctrine “Ut Pictura Poesis erit”, Ophelia comes to life in the poetry of Dickinson. Horace’s goals was to place the art of language on the same level as visual arts, thus the idea that a mute poetry (painting) is such as a vocal painting (poetry). This doctrine modifies the status of image and widens the painter’s palette. Consequently, Ophelia will be such as a silent foundation to Emily Dickinson’s poetry, where there is no imitation but solely an artistic influence with the notion of Differentiation, lines of flight, mapping and becoming-Minor which leads to the creation of the unique. According to Keats, it can equivocate to a sovereign truth, central quest of Dickinson’s circumferential journey. This dissertation leans on cardinal points to follow Emily Dickinson along her circumferential journey and her quest of the Ophelian North. Based on the definition of Concept by Hume, Hegel and Deleuze, the Ophelian Concept of Emily Dickinson will be brought forward. In order for that to be possible, the poet will match four criteria: have a mimesis base with Ophelia – which is found in the East, be able to create from that – located in the South, then have it lead to an innovative artistic response – positioned in the West, and finally, that immortality be attained – established in the North. This will allow a definition of Emily Dickinson’s Ophelian Becoming-map and her use of the Ophelian Concept
Aubriet, Hélène. ""The True and the False" : de la représentation de la vérité à celle de l’imaginaire dans les illustrations édouardiennes des Idylls of the King d’Alfred Tennyson (1859)." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0087/document.
Full textPublished in 1859, Alfred Tennyson’s Idylls of the King was an instant literary success. Its original subtitle, “The True and the False”, is the central theme of the four poems of the volume, which all deal with misperceptions, misunderstandings and misinformation. The Idylls can be seen as a long and challenging pursuit of the truth, since they show the heroes lifting the veil on their partner’s real identity, facing the truth, or trying to define their true selves. The poems also raise moral questions related to good and evil within men and women. In other words, the Idylls may be read as a warning against misperceptions and corrupt behaviours. The Idylls became a source of inspiration for many artists, including the Pre-Raphaelites. During the Edwardian era, Tennyson’s work, raised to the status of a classic, was again published in illustrated editions. How did the artists chosen here—Eleanor Fortescue Brickdale, Florence Harrison, Jessie M. King and John Byam Shaw, most of them affiliated to Pre-Raphaelitism—illustrate the question of Truth and Falsehood? This thesis shows how the theme of truth is depicted and adapted in the illustrations. Despite their apparent faithfulness to the poems, the Edwardian illustrators distance themselves from the poet’s or the characters’ point of view, while implicitly criticizing it. Besides, they highlight the imaginary dimension of the text. Thus, their illustrations stimulate the reader’s fancy and his or her inner dream world
Bernot, Marine. "Ford Madox Ford (1873-1939) en quête d'identité : chroniques et vagabondages impressionnistes." Thesis, Toulon, 2017. http://www.theses.fr/2017TOUL3001.
Full textFord Madox Ford is one of the most important figures, not only of English literature butof the Western European cultural and artistic world of the twentieth century. Closelyconnected with Henry James and Joseph Conrad (with whom he wrote three novels incollaboration), Ford played a vital role as editor, contributor to literary impression and aspioneer of “modernism”. Cosmopolitan by birth (English, German, French), this tirelessvoyager, torn between England, the United States and France (especially Provence, hischosen domain and Toulon), Ford is the author of a voluminous sum of publicationsmade up of more than 80 books and other items. The author of this thesis, Marine Bernot,has chosen to concentrate on a dozen or so memoirs covering the years going from 1904to 1937, focusing particularly on two travel ‘novels’, Provence and The Great TradeRoute. These works, which give an original insight into the first half of the twentiethcentury, introduce the reader to an original and complex personality – politicallyadvanced, feminist, non-conformist, ecologist ahead of his times, visionary –, a man inharmony with contemporary preoccupations
Daouda, Marie Kawtar. "L'Anti-Salomé, représentations de la féminité bienveillante au temps de la Décadence (1850-1920)." Thesis, Brest, 2015. http://www.theses.fr/2015BRES0094.
Full textAt the crossroads between two centuries, Salome plays the part of a mandatory commonplace in art and literature. Nevertheless, next to the femme fatale and just as unavoidable, stands a fragile and benevolent form of feminity, molded in the cast of the fairytale princess and theGothic novel heroine, but inspired above all by the Virgin and Martyr of the edifying novel, be it antique or contemporary. As it might be discrete enough to become unreadable, this archetype's benevolence cannot be legitimated without a sacrifice. The religious meaning of the scapegoat remains just as obvious and as efficient in the novels' narrative structure, as well as in the detailsthrough which such characters are built. Marial, magdalenian and farylike characters must undergo the same destruction trial, through which their edifying meaning becomes a litteral building-up up meaning, by juxtaposing dissimilar and yet efficien aesthetic elements which turn the character into an allegory of artistic creation. By linking mid-19th century and the 1920es and by weaving a link between the most famous of Baudelaire's heirs and the ones whose name is just merging out of oblivion, the purpose of this study is to analyse how much these representations of benevolent femininity must be seen as a permanence, as a monument – or as a monumentum – where late-19th century will not only gaze a the death of a declining era, but concentrate all what will be used to theorize idealist artistic movements on the edge of the 20th century