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1
Lasansky, D. Medina. "Italian Renaissance refashioned : Fascist architecture and urban spectacle /." View online version; access limited to Brown University users, 1999. http://wwwlib.umi.com/dissertations/fullcit/9936645.
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Clarke, Georgia Margot. "Italian Renaissance urban domestic architecture : the influence of Antiquity." Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264517.
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Gaitán, Salinas Candela. "Principes vitruviens dans l'architecture italienne et espagnole entre les années 1540 et 1575. Deux exemples de l'architecture périphérique dans le contexte du plan impérial : Jaén et Gênes." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP021.
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Ce projet de thèse, développée en co-tuelle entre l’université de Malaga et l’EPHE, est centré les mutations des langages architecturaux telles qu’elles se profilent en Italie et en Espagne, particulièrement en Andalousie, au milieu du XVIème siècle. Vis-à-vis de l’Italie, l’assimilation des principes vitruviens par les architectes espagnols est tardive et s’appuie sur des traités. Dès les années trente fut publié celui de Diego de Sagredo, Las medidas del romano, centré sur les proportions du corps humain et les ordres architecturaux. En 1552, eut lieu traduction du Quatrième et Troisième Livre de Sebastiano Serlio par Francisco de Villalpando, suivi par deux traductions du traité de Vitruve, rédigées d’une part par Miguel de Urrea en 1568, mais éditée seulement en 1582, et d’autre part celle de Lazaro de Velasco, entre 1554 et 1564. C’est en Andalousie que l’on peut observer un processus d’assimilation des règles provenant de l’Antiquité dans l’œuvre d’Andres de Vandelvira comme la Sacrée Chapelle du Sauveur et la sacristie de Cathédrale de Jaén, l’un des témoignages les plus remarquables de la Renaissance espagnole. Dans le domaine profane, Pedro Machuca avait instauré déjà vers 1527 au palais de Charles V à Grenade des ordres vitruviens avec lesquels il s’était familiarisé pendant un séjour à Rome en 1517-1520. Le long chantier de ce monument révèle la manière dont les spécificités du vocabulaire changent dans les décennies suivantes, en passant d’un classicisme sincère vers un classicisme ornemental. Ce travail propose d’analyser de manière détaillée l’influence de ces traités sur l’évolution des langages architecturaux, en se concentrant sur un choix de monuments des deux pays représentatifs des mutations qui se profilent durant cette période. Ces analyses éclairciront la manière dont se conjuguent les modèles importés et les traditions locales dans de nouvelles synthèses. Une attention particulière sera prêtée aux savoir-faire techniques qui, dans le cas de l’Espagne, restent étroitement liée aux corporations et aux chantiers des cathédrales tardo-médiévales. En-dehors d’une confrontation des modes d’assimilation dans les deux pays, nous allons également suivre la mise au point d’un processus codification des langages dans les deux pays qui se met progressivement en place, selon des rythmes différents, sans toutefois unifier le répertoire formel. Nous allons procéder par une étude détaillée de monuments, particulièrement de Vandelvira et d’Alessi, fondée sur une analyse archéologique et archivistique. L’objectif est de s’éloigner des concepts généralement admis comme celui du maniérisme en faveur d’une analyse ciblée des témoignages. Après avoir détecté les modèles provenant des traités qui ont été adoptés, nous allons nous interroger sur les modalités d’assimilation, sur le plan formel et technique. Une étude du contexte historique dans lequel se place cette adoption révélera la signification du prototype, souvent lié à des légitimations politiques. Ce parallélisme entre l’Italie et l’Espagne révélera l’importance que revêtent les traditions autochtones lors de ces mutations progressive. D’autre part, notre réflexion cherchera aussi à mettre en évidence la persistance de principes classiques instaurés pendant cette période, dont certains garderont une actualité pendant plusieurs siècles. Ce travail assurera une meilleure compréhension du classicisme des années 1550-1560 en Espagne, appuyée sur une mise en parallèle avec l’Italie. Il permettra de dégager clairement le rôle joué par les traditions locales et la manière dont ces dernières forment de nouvelles synthèses avec des modèles provenant des traitésThis thesis project, developed under the tutorship shared by Málaga University and L’EPHE, focuses on the transformations which the architectural languages experience in Italy and Spain, particularly in Andalusia, during the second half of the sixteenth century. In comparison to Italy, the Spanish architects’ assimilation of the Vitruvian principles occurred later in time and it was based on the treatises. During the thirties decade, Diego de Sagredo’s treatise The Roman’s Measures was published, which deals with the human body proportions and the architectural orders. The translation of Sebastiano Serlio’s Quarto and Terzo Libro, by Francisco de Villalpando, happened in 1552, and subsequently two more translations of the Vitruvian treatise were written by Miguel de Urrea in 1568, though published in 1582, and Lázaro de Velasco, between 1554 and 1568. In Andalusia we may observe the process of assimilation of Antiquity principles in Andres de Vandelvira’s works, as in the Sacred Chapel of the Saviour and in the Sacristy of Jaén’s Cathedral, one of the most remarkable testimonies of the Spanish Renaissance. In the profane architecture domain, Pedro Machuca, in the Palace of King Charles the Fifth, circa 1527, had already incorporated the Vitruvian principles that he had acquired during his voyage to Rome between 1517 and 1520. The the long building process of this monument shows the manner in which the specificities of the architectural vocabulary changed in the following decades, evolving from a more honest Classicism to a more ornamental one. This project proposes a detailed analysis of the influence of artistic treatises on the evolution of architectural languages, concentrating on a classification of the most representative works in this period in Jaén and Geneva. This study will elucidate the manner in which imported models merge with local traditions. We devote especial attention to the technical craftsmanship that, in the case of Spain, is narrowly linked to the stonemasons’ skill and the building system for the later medieval cathedrals. We proceed through a detailed study of the monuments, mainly works of Vandelvira and Alessi, based on architectural and archival research. The objective is distance our conclusions from generally assumed concepts, like Mannerism, in favour of an analysis determined by testimonies. Once we identity the models that emerge from the adapted treatises, we question ourselves about the way those models are assimilated at a formal and technical level. The study of the historical context in which this adaptation develops will reveal the significance of the models, often related to political legitimizations. This parallelism between Italy and Spain shows the importance that local traditions gain in the event of these progressive transformations. On the other hand, we will evince in our reflection the persistence of the classical principles established during this period, some of which would endure for centuries. This project ensures a better understanding of Classicism between 1540 and 1575 in Spain, supported by a parallelism with Italy. Thus we may clarify the role local traditions play and the way they produce a new synthesis with the models extracted from the artistic treatises
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Kramer, Erik Russell. "H2ODC: The Renaissance of Water Culture in D.C." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/24776.
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Washington DC is seen as a center of politics, bureaucracy, litigation, legislation, and the trading of power and resources. For this reason outsiders are both attracted to and repelled from our city. For many of us transplants and government workers, a large portion of our collective self-image is dictated by the ebb and flow of our governing body.Master of Architecture
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Barry, Marie Porterfield. "Lesson 08: The Renaissance." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/9.
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This lesson covers artworks created during the Renaissance in Europe. It begins with a preface on artworks created prior to the Renaissance that focused on Christian ideology and iconography. Artists discussed include Botticelli, Donatello, Michelangelo, Bernini, and Leonardo da Vinci.
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Lee, Jae Yong M. Arch Massachusetts Institute of Technology. "Renaissance of the ramp : reconceptualization of National Assembly's architectural symbolism and accessibility." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/115615.
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Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2018.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (page 72).
This thesis examines the architectural potential through the functional extension of the plaza and reconstruction of the symbolic National Assembly to answer questions. Creating a space of ramps will heighten perceptions of accessibility of the National Assembly. The plaza becomes the place of communication as it establishes a new relationship between the space of the ramp and the National Assembly. Today, the perception of the National Assembly in Seoul, Korea is as an authoritarian and inaccessible space. The large plaza in front of the building is only accessible if one passes the security check; as a result, normal citizens rarely use the area. Because the building is only 30 years old, rebuilding an entire new structure is neither feasible nor plausible. Considering this situation and the history, what kind of architectural transformation could be made to change people's perception towards the National Assembly Building and its surrounding area? What architectural language or device could be used to enhance the accessibility and symbolism of the space? The space of the ramp symbolizes equal accessibility and facilitates a political dialogue between citizens and the government. Instead of being a mere vertical circulation device from floor to floor, the ramp is designed in diverse ways to acquire a more meaningful status, both functionally and symbolically. Unlike the columns which were used merely as ornamentation in the National Assembly, columns in the new architecture structurally support the ramp as well as symbolically support people coming to this new space to see the National Assembly from different perspectives. The monumentality of the authoritative architecture becomes diluted through a transparent and approachable public space that generates a new image of Korea's political architecture. This architectural intervention hopefully results in changing the perception towards the National Assembly from an authoritarian and inaccessible space to an open and accessible space.
by Jae Yong Lee.
M. Arch.
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Wheeler, Katherine Jean. "The reception and study of Renaissance architecture in Great Britain, 1890-1914." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/38540.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
"February 2007."
Includes bibliographical references (p. 267-292).
The writing of Renaissance architectural history in the period 1890-1914 in Great Britain changed dramatically. Despite modernism's tenet of rejecting history from design, Renaissance architectural history in Great Britain functioned as both an alternative to and a source of inspiration for modernism. At first Renaissance architecture supplied a stylistic alternative to the Gothic Revival; then it acted as a bastion against modernist influences from the Continent. Finally, it provided a foundation of aesthetic principles applicable to modern design. With the advent of university programs in architecture, the writing of architectural history became more formalized, marking the beginning of architectural history's autonomy as a discipline and foreshadowing modernism's rejection of history from the design process. In my dissertation I analyze the perceptions and presentations of Renaissance architecture in order to investigate the relationship between history and design in architectural education, literature, and practice at the turn of the century in Great Britain. An analysis of architectural curricula, designs, and publications from this period reveals the development of an autonomous architectural history and the foundations of a modern architecture.
by Katherine Jean Wheeler.
Ph.D.
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Georgel, Christophe. "Architecture, espace et représentation en Lorraine à la Renaissance (1500-1550)." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20021.
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La structure et le régime symboliques de l'architecture et de l'espace architectual en Lorraine au moment du renouveau stylistique à l'aube de la Renaissance sont analysés dans trois champs géographiquement et historiquement dépendants les uns des autres : 1) la production régnicole sous les ducs René II et Antoine qui s'articule autour du palais ducal de Nancy, élevé dans le contexte idéologique postérieur à la Bataille de Nancy. La représentation et la légitimation du pouvoir, dans le cadre d'une rénovation humaniste de l'idéal chevaleresque, se diffusent alors principalement à travers la forme logique et discursive du mythe qui permet de fonder l'origine providentielle de la souveraineté dynastique. . . 2) le De Artificili Perspectiva (Toul, 1505) de Jean Pèlerin, dit le Viator, clerc qui bénéficia de la protection de René II. . . 3) l'architecture religieuse dans le diocèse de Toul à partir de l'introduction des ordres à l'église de Blénod-lès-Toul. . .At the dawning of the Renaissance the stylistic renewel of the structure and symbolic functionality of the architectural space in Lorraine is analysed in three geographical styles interdependent historically : 1) the production of the ruling-class under the Dukes René II and Antoine situated around the ducal palace in Nancy. . . 2) the analysis of the "poetic threshold", of the draughtsmanship of the treaty, De Artificiali Perspectiva (Toul, 1505) by Jean Pèlerin. . . 3) from the introduction of the orders of the church of Blénod-lès-Toul. .
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Davies, Paul. "Studies in the Quattrocento centrally planned church." Thesis, Courtauld Institute of Art (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319331.
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Grube, Hans Achim. "Renaissance der E-Werke : historische Industriearchitektur im Wandel /." Berlin : Jovis, 2003. http://catalogue.bnf.fr/ark:/12148/cb40025428k.
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Pereira, Claudio C. (Caludio Calovi) 1961. "Architectural practice and the planning of minor palaces in Renaissance Italy, 1510-1570." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/69404.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1998.Includes bibliographical references (v. 1, leaves 157-164).
This dissertation proposes to study how the commission and design of minor palaces contribute to the understanding of architectural practice in early 16th century Italy. The particular nature of the small urban palace as a reduced and less expensive version of larger palaces and its recurrent nature in the practice of architects malke this type of building very important in illustrating the changes in the profeSSion at that time. Minor palace commissions also show architects dealing with a growing private market for the exercise of the profession: in Rome, the architect's clients belong to a lesser nobility composed of merchants and professional men (doctors, lawyers, notaries, artists, diplomats, bureaucrats) mostly connected to the Papal civil service. Moreover, the planning of these buildings manifest the increasing specialization of the profession at that time, when expertise in Ancient Roman architecture and the mastering of new instruments of representation (orthogonal projection, perspective, sketches) were added to the usual technical and artistic skills required of an architect. The dissertation focus on how architects define a planning procedure to cope with the new set of circumstances related to the commission of a minor palace (budget, site, program, recurrence). The design of a palace comprised different functions arranged in horizontal sequence with a few vertical connections; therefore, drawings of plans were the central instrument of their design. The dissertation is primarily based on the study of original plans that illustrate the working methods of 16th century Italian architects. Three of them were chosen (Antonio da Sangallo the Younger, Baldassare Peruzzi and Andrea Palladio) based on their activity as ~esigners of minor palaces and the existence of a substantial amount of plans for this kind of building by them. A second part of this work presents a general view of the working procedures employed by these three architects in commissions of minor palaces. Through the study of their drawings and planning procedures, this dissertation intends to illustrate the establishment of the modern sense of architectural practice in 16th century Italy as shown through the design of minor palaces.
by Caludio C. Pereira.
Ph.D.
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Lepik, Andres. "Das Architekturmodell in Italien : 1335-1550 /." Worms : Wernersche Verlagsgesellschaft, 1994. http://catalogue.bnf.fr/ark:/12148/cb39052518k.
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Kirkbride, Robert. "The renaissance studioli of Federico da Montefeltro and the architecture of memory /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82902.
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This investigation of the studioli, small contemplation chambers in the ducal palaces of Urbino and Gubbio, considers their position in the western tradition of the memory arts. Drawing upon select images in the studioli, as well as text sources readily available to Duke Federico da Montefeltro (1422--82) and the members of his court, this inquiry examines how the discipline of architecture equipped the late quattrocento mind with a bridge between the mathematical arts, which lend themselves to mechanical practices, and the art of rhetoric, a discipline central to the cultivation of memory and eloquence. As ramifications of material and mental craft, the studioli offered the Urbino court models for education and prudent governance.
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Cartmell, D. "Edmund Spenser and the literary uses of architecture in the English Renaissance." Thesis, University of York, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377294.
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Ruas, Réjane. "L'architecture d'une ville marchande sous l'Ancien Régime : Beaucaire de la Renaissance à la Révolution." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30069.
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Beaucaire, petite ville située sur la rive du du Rhône, à la frontière entre le Languedoc et la Provence, sur le territoire de l'Argence, présente un patrimoine architectural hors du commun. Composé d'églises et de chapelles, de couvents et de collèges, d'édifices publics et surtout d'un très grand nombre d'hôtels particuliers, ce patrimoine monumental, pour l'époque moderne, n'a jamais été étudié dans son intégralité.Pourtant, Beaucaire fut dès le Moyen-Age une cité prospère, dont la foire développait un chaland qui s'étendait du haut pays cévenol, jusqu'aux grandes capitales marchandes (de Lyon à la Champagne) pour aboutir aux marches de l'Orient et de la Sublime Porte. Ce fut à cette particularité "marchande" que la ville dut une bonne part de sa richesse, de sa puissance et de son luxe. L'architecture devint, de l'aube de la Renaissance à la révolution industrielle, l'expression de cette réussite.Peu de villes marchandes du sud de la France ont bénéficié d'études globales sur leur architecture et sur leur cadre de vie. Le propos de cette thèse consista à définir l'image de l'une d'elles, en s'appuyant sur toutes les sources archéologiques, historiques, et archivistiques disponibles. Loin d'être un simple répertoire d'objets monumentaux, Beaucaire offre au chercheur en histoire de l'architecture l'occasion de visiter plusieurs siècles d'architecture sous le prisme très particulier d'une activité marchande omniprésente et profondément ancrée dans "l'esprit d'une cité"Beaucaire is a small town located near the bank of the river Rhone, on the borders of Languedoc and Provence, close to the Argence area. A wonderful architectural legacy can be observed in this area.This monumental legacy composed by churches and chapels, monasteries (convents) and Colleges, public buildings and, above all, a great number of private mansions, has never been studied so far.Since the beginning of the Middle Ages, Beaucaire has always been considered as a prosperous town with a famous fair that stretched from the high Cévennes region to the great commercial Capital cities (such as Lyon, Paris, Reims, even Constantinople and many others). Centuries after centuries, and because of that fair buisness, Beaucaire became a prosperous city. The architectural works achieve a high quality. So far, few south of France merchant towns have been studied, especialy in the architectural matter. This research intend to define the image of that kind of city. Far from being a simple list of monumental items, Beaucaire offers to the art historian the opportunity to inspect several centuries of architecture
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Roberts, G. "Inigo Jones : the architectural historiography." Thesis, University of Essex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387414.
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Angélil, Marc Angélil Marc M. Angélil Marc M. Angélil Marc M. "Technique and formal expression in architecture : theory in architectural technology from the Renaissance to the Age of reason /." [S.l.] : [s.n.], 1987. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=8322.
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Angélil, Marc M. "Technique and formal expression in architecture theory in architectural technology from the Renaissance to the Age of Reason /." [S.l. : s.n.], 1987. http://e-collection.ethbib.ethz.ch/cgi-bin/show.pl?type=diss&nr=8322.
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Caye, Pierre. "Le savoir de Palladio : architecture, métaphysique et politique dans la Venise du Cinquecento." Paris 4, 1991. http://www.theses.fr/1991PA040301.
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Popp, Roger. "Die Mittelmasse in der Architektur : Wesen, Bedeutung und Anwendung von der Antike bis zur Renaissance /." Hamburg : Kovač, 2005. http://catalogue.bnf.fr/ark:/12148/cb40920391d.
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Terim, Berrin. "Filarete's Body: Unpacking the Pregnancy analogy in the Renaissance Patronage Context." Diss., Virginia Tech, 2007. http://hdl.handle.net/10919/104118.
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Fifteenth century Florentine architect Il Filarete authored the first illustrated book on architecture, with a distinct pedagogical agenda to teach his patron to build nobly. Written as a dialogical narrative, taking place between a patron and his architect, the treatise's pedagogical tone unfolds as a form of storytelling about the design and construction of an ideal city. Despite its miscellaneous aspects embedded in the book, which differentiates it significantly from the architectural treatises belong to the Western cannon, the author stresses his role as an architect, and proposes an unprecedent analogy to define the role of the architect (his profession) in regards to building practice [edificare]. Extending the Vitruvian body topos under the influence of Civic Humanism to an organic anthropomorphism, Filarete bases the generation of a building on similar grounds to human generation, through which he defines gender-specific roles to the patron (male agent) as the father of the building, and the architect (female agent) as its mother. This generally known analogy, although has been frequently mentioned, was not taken as a clue that can pertain the essence of architectural production in the Renaissance patronage context. In this dissertation, I propose to contextualize his unprecedented proposal within the larger framework of the production agency of building in the early modern period, and how architecture as a profession is aimed to be defined within that.Doctor of Philosophy
In this dissertation, I have offered an in-depth analysis of Filarete's "generation" analogy for building production in the quattrocento Renaissance context. Filarete is a fifteenth century Florentine sculptor turned architect, who owns his fame to the extraordinary book he wrote ¬¬– Libro Architettonico – in which he could demonstrate the wonders he can build with the aid of a devoted patron. Targeting at the ideology of the patron's fame to be established through the noble edifices he builds, Filarete signifies the temporal nature of buildings which ends in ruins –as the Roman antiquity is perceived in the Renaissance –. Relying on ancient "body" metaphor for architecture, Filarete offers an analogy to his patron to perceive buildings similar to "a living man," that eventually dies. Accordingly, the generation of buildings is introduced as similar to generation of man. Based on a sexual metaphor Filarete coins here, the patron takes the role of the father, to generate "his" building together with an architect –mother–. Similar to a pregnant mother, the architect develops the design in his realm to deliver in the form of a scaled artifact (whether a drawing or a wooden model). Filarete suggests the architect –mother– to be the wet-nurse, signifying the ongoing process of design during construction and the architect's role to ensure its integrity to the building. This unprecedented analogy, although was never studied in depth, carries many connotations when examined in Renaissance patronage context and reflects significant nuances regarding the production of such noble building. The patron's influence in design is recognized with the father role, which has a long and prominent history in comparison to the emerging individuality of the Renaissance artist. In this well-established scheme, Filarete relies on the creative faculties of an artist, as associated with female attributes since the antiquity, yet extends it further to motherhood to define "architect" as a professional title. This unique interpretation parallels the emerging notions of family during the Renaissance, as perpetuated by Civic Humanism. A comparative study of the family treatises of the fifteenth century shows that the emphasis on the mother in the growth of a child parallels Filarete's intentions to convince his patron to rely on his architect for the good of his building. In the overall pedagogical tone of the Libro, Filarete is educating the patron to build nobly, which is offered as a stylistic choice to build in the ancient manner, and introduces the architect as an equal agent of the design process, distinguishing its role from a mason.
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Terim, Berrin. "Filarete's Body: Unpacking the Pregnancy Analogy in the Renaissance Patronage Context." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/104118.
Full textAbstract:
Fifteenth century Florentine architect Il Filarete authored the first illustrated book on architecture, with a distinct pedagogical agenda to teach his patron to build nobly. Written as a dialogical narrative, taking place between a patron and his architect, the treatise's pedagogical tone unfolds as a form of storytelling about the design and construction of an ideal city. Despite its miscellaneous aspects embedded in the book, which differentiates it significantly from the architectural treatises belong to the Western cannon, the author stresses his role as an architect, and proposes an unprecedent analogy to define the role of the architect (his profession) in regards to building practice [edificare]. Extending the Vitruvian body topos under the influence of Civic Humanism to an organic anthropomorphism, Filarete bases the generation of a building on similar grounds to human generation, through which he defines gender-specific roles to the patron (male agent) as the father of the building, and the architect (female agent) as its mother. This generally known analogy, although has been frequently mentioned, was not taken as a clue that can pertain the essence of architectural production in the Renaissance patronage context. In this dissertation, I propose to contextualize his unprecedented proposal within the larger framework of the production agency of building in the early modern period, and how architecture as a profession is aimed to be defined within that.Doctor of Philosophy
In this dissertation, I have offered an in-depth analysis of Filarete's "generation" analogy for building production in the quattrocento Renaissance context. Filarete is a fifteenth century Florentine sculptor turned architect, who owns his fame to the extraordinary book he wrote ¬¬– Libro Architettonico – in which he could demonstrate the wonders he can build with the aid of a devoted patron. Targeting at the ideology of the patron's fame to be established through the noble edifices he builds, Filarete signifies the temporal nature of buildings which ends in ruins –as the Roman antiquity is perceived in the Renaissance –. Relying on ancient "body" metaphor for architecture, Filarete offers an analogy to his patron to perceive buildings similar to "a living man," that eventually dies. Accordingly, the generation of buildings is introduced as similar to generation of man. Based on a sexual metaphor Filarete coins here, the patron takes the role of the father, to generate "his" building together with an architect –mother–. Similar to a pregnant mother, the architect develops the design in his realm to deliver in the form of a scaled artifact (whether a drawing or a wooden model). Filarete suggests the architect –mother– to be the wet-nurse, signifying the ongoing process of design during construction and the architect's role to ensure its integrity to the building. This unprecedented analogy, although was never studied in depth, carries many connotations when examined in Renaissance patronage context and reflects significant nuances regarding the production of such noble building. The patron's influence in design is recognized with the father role, which has a long and prominent history in comparison to the emerging individuality of the Renaissance artist. In this well-established scheme, Filarete relies on the creative faculties of an artist, as associated with female attributes since the antiquity, yet extends it further to motherhood to define "architect" as a professional title. This unique interpretation parallels the emerging notions of family during the Renaissance, as perpetuated by Civic Humanism. A comparative study of the family treatises of the fifteenth century shows that the emphasis on the mother in the growth of a child parallels Filarete's intentions to convince his patron to rely on his architect for the good of his building. In the overall pedagogical tone of the Libro, Filarete is educating the patron to build nobly, which is offered as a stylistic choice to build in the ancient manner, and introduces the architect as an equal agent of the design process, distinguishing its role from a mason.
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Guidicini, Giovanna. "Scotland triumphant : the relevance of Stewart triumphal celebrations in shaping Scottish Renaissance architecture." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/8725.
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This thesis discusses Scottish triumphal entries, and Scottish triumphal culture in general, and aims to advance understanding of the local application of Renaissance ideas, in relation to art and architecture. Triumphal language represented a strongly unifying element in XVI century European culture. Through temporary architecture, decorations, and entertainments, many sovereigns showed visually to a local and international audience their increasing power, legitimate rule, personal qualities, and ambitions. Urban entries also represented an important moment of dialogue with the local authorities of the city hosting the triumph, who would have used this unique opportunity to communicate with the ruler, presenting issues, asking for help, or offering advice. Although the importance of triumphal language has been recognized with regard to Europe, the use of triumphal language in Scotland and by the Stewart monarchs has been only marginally considered: in particular, each entry has been considered separately, and not in connection with each other, with their architectural setting –the city- or as a source of inspiration for permanent architecture. This thesis will show how local triumphal entries and ceremonies can be used to analyze the development of Scottish culture during the Renaissance. Some of the topics treated will be, the imperial aspiration and increasingly absolutist ideas of the Stewarts, the surfacing of religious issues and the uneasy coexistence of different creeds, and the increasing interest in classical language in and beyond the court. This thesis will reinforce the connection between the Scottish Renaissance and the European Renaissance, Italian in particular, showing how many aspects of Scottish architecture of the time can be interpreted not as surprising, isolated expression of taste, but as consequences or related facts to the spectacularization of life of which triumphal culture was a politicized, dynastical expression. Two of James V’s main architectural enterprises, the refashioning of Linlithgow Palace with the creation of a fountain in the central courtyard, and the elaborated stone decoration created for Stirling Castle, will be shown as derivations and expression of international triumphal culture. The perfect king and queen represented through them, presiding over a perfect court, are similar to the idealized figures presented to the crowd during a triumphal entry, and can be connected with foreign sources of inspiration, particularly French, Italian, and German. Outdoor spaces like the garden of Edzell Castle will be interpreted as the permanent, private recreation of the controllable, perfect world created through triumphal entries, inspired by triumphal decoration and foreign designs. The messages delivered through the decorations also reflected the usual admonitions to an entering queen, and the politicized messages suitable to a ruler of international prestige. The city of Edinburgh will be analyzed in its role as a stage and a protagonist of Stewart royal entries in the period 1503-1636. As an active character, it will pose limits and offer opportunities through its very geological conformation and the positioning of its main buildings. As a stage, it was endowed with timber settings, the Piazzas and upper promenades, where and from where the spectacle of everyday life could be performed and enjoyed. An artificially tamed natural landscape was also granted temporary access, showing with its presence the ruler’s control upon the forces of the world which he can evoke and govern at will, creating a perfectly balanced, renewed cosmos.
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Rachele, Cara Paul. "Building Through the Paper: Disegno and the Architectural Copybook in the Italian Renaissance." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467183.
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The dissertation looks at architectural theory in early modern Italy through a history of its drawings. It examines a group of early-sixteenth-century drawing books, made in and around Rome, that comprised reproductive drawings based on circulating drawing exemplars from the late fifteenth century. The drawing books are identified as study tools made by artisans who aspired to the practice of architecture. The study illuminates the broader shift toward drawing as the primary means of architectural design.
The first chapter contends that the distinctive drawing practices of architecture arose from the merging of the representational traditions of figural and mechanical drawing, identifying this progression in architectural texts by Cennino Cennini, Leon Battista Alberti, Filarete, Francesco di Giorgio Martini, Leonardo, and Raphael. The next chapter reconsiders the “treatise-books” of the 1510s-1530s as copybooks for architectural draftsmen, analogous to the commonplace books created by humanist scholars, using the Codex Coner (Soane’s Museum, London) as a case study. Chapter 3 looks at the widespread phenomenon of drawing and copying architectural details and tracks its development from detail drawing series made in the fifteenth century to the precisely measured images of the early sixteenth century. The case study is the Codex Fogg (Harvard Art Museums, Cambridge). Chapter 4 traces the empirical development of orthographic section drawing as an established component of the drawing palette of the architectural draftsman, taking the Codex Mellon (Pierpont Morgan Library, New York) as an example. Chapter 5 investigates the circumstances that influenced the end of the architectural copybook phenomenon in the late 1530s-40s. Two examples demonstrate the transition, the Codex Lille by Raffaello da Montelupo (Musée des Beaux-Arts, Lille) and the Codex Campori App. 1755 of Giovanni Antonio Dosio (Biblioteca Estense, Modena).History of Art and Architecture
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Chechik, Liya <1989>. "Re-inventing the East: the interpretation of Eastern Architecture in Venetian Renaissance painting." Doctoral thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/10254.
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La presente dissertazione dottorale si occupa di indagare i rapporti esistenti fra Venezia e l'Oriente nella pittura veneziana rinascimentale. Nel primo capitolo, Venezia e l’Oriente vengono analizzati nel contesto dei legami storici fra essi esistenti, poiché il problema del “proprio-altro da sé” è riflesso nella realtà della vita veneziana del Medioevo e del Rinascimento. Vengono analizzate in modo più ampio e dettagliato le tappe e le modalità con cui i veneziani (non soltanto soldati, mercanti, viaggiatori, ma anche colti intellettuali e artisti) entravano in contatto con le manifestazioni concrete della cultura orientale. Grande rilievo è dedicato alle fasi di penetrazione dell’influenza orientale nella struttura architettonica della città, che per tale motivo è stata associata al concetto di Oriente. Questo, a sua volta, pone il problema di come si debbano intendere le raffigurazioni, per esempio del simbolo di Venezia – la cattedrale di San Marco – nei cicli dei pittori veneziani del Rinascimento. Lo studio diretto delle forme concrete permette di scoprire la specificità dell’atteggiamento verso l’Oriente, tipico della mentalità artistica veneziana. Grande attenzione è riservata all’interpretazione statale delle varie forme dell’Oriente in diversi periodi come base dei programmi pittorici. Il secondo capitolo contiene l’analisi dei motivi architettonici nella rappresentazione dei loci biblici nelle tele dei pittori rinascimentali veneziani. È qui offerta una breve panoramica e un’analisi tipologica e si spiega il significato dei motivi architettonici nella pittura veneziana del Rinascimento. Viene preso in esame l’insieme di rappresentazioni idealizzate e talvolta fantastiche dei pittori veneziani del Rinascimento sia riguardo all’architettura degli antichi sia in generale alle forme architettoniche sacre, comprese ovviamente quelle esistenti nell’area orientale. Seguendo i metodi iconografici e iconologici, la tesi tenta di ricostruire il pensiero artistico dei pittori veneziani del tempo (Cima da Conegliano, Bellini, Mantegna, Carpaccio, Crivelli, Previtali, Bastiani, Moretto, Lotto, Tiziano, Bassano, Veronese, Tintoretto), i motivi e i reali scopi della creazione per loro di programmi da parte dei committenti. Nel terzo capitolo per la prima volta si tenta di dare una rassegna completa e di proporre un’analisi comparativa della rappresentazione dell’architettura di Gerusalemme nelle tele del Quattrocento e del Cinquecento. Domina in questo contesto la letteratura che prende in considerazione il legame fra Venezia e Roma oppure Venezia e Costantinopoli. Sull’esempio della rappresentazione dell’architettura di Gerusalemme nelle tele di Mantegna, Carpaccio, Bellini, Cima, Tiziano, Tintoretto e molti altri, si determina la graduale penetrazione di motivi antichizzanti, che rappresentano il trionfo delle idee del Rinascimento. L’architettura nelle tele dei pittori veneziani del Rinascimento dedicate ai cicli sulle vite dei santi è l’oggetto del quarto capitolo, dove vengono prese in analisi le fonti visive e scritte e i programmi di rappresentazione. Vengono inoltre analizzati i fondamenti storici e pittorico-figurativi dei motivi presenti nelle tele dedicate a San Marco (di Mansueti, Bellini, Tintoretto e altri). Una grande quantità di materiale per l’analisi dell’architettura “orientale” si trova anche nelle composizioni che rappresentano i cicli della vita di san Giorgio e san Trifone (di Carpaccio) e altri. Infine nel capitolo conclusivo viene proposta un’analisi dettagliata della ricezione artistica e storica delle opere «L’accoglienza degli ambasciatori veneziani in una città orientale» (Louvre) e «L’arrivo del futuro doge Alvise II Mocenigo come ambasciatore a Costantinopoli» ” di Antonio Stroma (Museo di Palazzo Moccenigo a San Stae). Vengono inoltre proposti esempi tratti dai bozzetti grafici dei viaggiatori veneziani in Oriente.
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Bödefeld, Gerda. "Die Villen von Siena und ihre Bauherren : Architektur und Lebenswirklichkeit im frühen 16. Jahrhundert /." Berlin : D. Reimer, 2003. http://catalogue.bnf.fr/ark:/12148/cb39220827m.
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Burioni, Matteo. "Die Renaissance der Architekten Profession und Souveränität des Baukünstlers in Giorgi Vasaris Viten." Berlin Gebr. Mann, 2005. http://d-nb.info/984439064/04.
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Calado, Margarida 1947. "Arte e sociedade na época de D. João V." Phd thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1995. http://dited.bn.pt:80/29841.
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Hathaway, Michael Jason Daniel. "The Resonance of Michelangelo." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/74440.
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This thesis is an exploration of creating an essence in architecture through a sense of ambition and harmony. The ambition for a design to have an architectural presence and establish a clear identity, while achieving a harmony of numerous aspects of the project in order to simplify the inherent complexities of architecture and allow the ambitious identity to be clearly present.
The investigation begins with the analysis of ruins as the result of a natural process that strips down a building of secondary components and leaves the exposed soul of the architecture. As a specific example, the thesis explores the Roman ruins, how they exude their cultural history and often how they express the initial architectural intent and identity. The ambition of Rome is carried to the harmony of Florence and finally to the embodiment of harmonious ambition in Michelangelo.
His work constantly achieved an ambition in creating a new identity with each masterpiece while always attaining a beautiful moment of harmony. The thesis explores not just the wonders of Michelangelo's life, but his inspirations and mastery of ancient traditions as well as his influence on the world after him. At the conclusion of the exploration, I propose a place of learning that both honors Michelangelo and his resonance throughout history and creates a new harmonious ambition.Master of Architecture
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Akcay, Aysegul. "The Architectural City Images In Cinema: The Representation Of City In Renaissance As A Case Study." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609699/index.pdf.
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The aim of this study is to understand the limits of spatial transformations of
architectural images in cinema. In this exposition the architectural city images
are analyzed with referenced to case study by reading the representation of space and city in model film Renaissance which in the city becomes notion. The interaction between architecture and cinema is discussed by using concepts
such as space, time, perception, framing, editing and continuity in addition to their relations with future cities and spatial designs in these worlds.
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Michailidis, Melanie. "Landmarks of the Persian Renaissance : monumental funerary architecture in Iran and Central Asia in the tenth and eleventh centuries." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/41720.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 375-414).
This dissertation investigates the sudden proliferation of mausolea in Iran and Central Asia in the tenth and eleventh centuries and how their patrons, who were secular rulers of Iranian descent, drew on the pre-Islamic past in new ways specific to each region. Mausolea constructed in the tenth and eleventh centuries have a wide geographical spread across modem Iran and the ex-Soviet Central Asian republics. However, the monuments take two different forms: the tomb tower and the domed square. There are formal and functional differences and a different geographical distribution, with the earliest tomb towers concentrated in the inaccessible Alborz Mountains in northern Iran. This remote region had a very different historical trajectory from that of Central Asia, where the earliest extant domed square mausolea are located. Historians of architecture have often noted that certain features seen in these mausolea have some vague connection with the pre-Islamic past, but this connection has never been precisely defined or explained; I argue that the cultural dynamics which resulted in particular architectural forms were very different in these two regions, so that pre-Islamic Iranian traditions were selectively continued in the Caspian region of northern Iran, whereas other elements of the Iranian past were consciously revived in Central Asia. Two of the mausolea that I analyze, the Samanid mausoleum and the Gunbad-i Qabus, are well-known monuments which appear in virtually every survey of Islamic art, whereas most of the others are almost completely unknown.
This dissertation situates these buildings in their historical context for the first time and examines them in a new way as an expression of the Persian Renaissance, a term borrowed from literary historians which describes the florescence of Iranian high culture which occurred at this time. Since this group of mausolea was influential not only in the development of funerary architecture, but also in the development of Islamic architecture as a whole, understanding their origins and formation is important for the history of Islamic architecture.
by Melanie Dawn Michailidis.
Ph.D.
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Barry, Marie Porterfield. "Lesson 09: Michelangelo- From High Renaissance to Mannerism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/10.
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Barry, Marie Porterfield. "Lesson 13: Mirrors in Renaissance and Baroque Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/14.
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Lebeaux, Mélanie. "L'architecture dans le comté de Périgord à la Renaissance (fin XVe-début XVIIe) : évolutions, influences, acteurs." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20083.
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La Renaissance en Périgord souffre d’un vide historiographique et scientifique ponctuellement compensé par la publication de monographies et de recherches universitaires. Pourtant, de la fin du XVe siècle au début du XVIIe siècle, le comté de Périgord, vaste territoire à l’est de la Guyenne, se couvre en abondance de demeures civiles et sacrées rénovées ou reconstruites selon les nouveaux critères de confort et d’esthétique. Cette vitalité est assurée par une forte densité nobiliaire qui, grâce aux réseaux d’influences et aux questions de goût et d’imitation, contribuent à sa diversité. Parmi les influences recensées, certaines relèvent simplement des modes à l’instar de l’architecture « à l’antique » et du maniérisme, d’autres plus spécifiques, font écho à des idées artistiques et à des artistes exogènes tels que l’auvergnat Pierre Esclache, les lorrains Jean et Nicolas Rambourg. À cela s’ajoute la culture savante composée des gravures, plaquettes de bronze et écrits théoriques. Au-delà des échanges et des influences, ce sont les acteurs, homme ou femme, qu’il convient de placer au cœur des problématiques. L’artiste est indissociable de ces questions d’échanges. Sa formation, sa culture visuelle et intellectuelle favorisent la création d’une manière propre qu’il diffuse au gré des chantiers et des commandes, accélérant la diffusion des modèles et des idées. Le commanditaire mérite lui aussi toute l’attention. Son réseau familial, sa culture, ses appartenances politiques et religieuses, la volonté d’exposer, à travers des bâtiments munificents et novateurs, son ascension et sa position sociale, participent eux aussi à la diffusion des idées artistiquesStudies of the Renaissance in Périgord, suffer from an historiographical and scientific void, occasionally compensated by the publication of a monograph or academic research, and yet from the end of the 15th century to the early 17th century, the county of Périgord – a vast territory in the east of Guyenne – has an abundance of private or clerical houses renovated or rebuilt according to the new criteria for comfort and aesthetic quality. This wealth is due to the great number of nobility which, through networks of influence or matters of taste and imitation, contribute to its diversity. Amongst the influences detected, some are mere fashion, such as « classical » architecture and mannerism, whereas others are more specific, responding to exogenous artistic ideas and artists such as Pierre Esclache from the Auvergne, or Jean and Nicolas Rambourg from Lorraine. Furthermore, there is the scholarly culture of engravings, bronze medals and theoretical writings. They are the actors of these influences and exchanges that should be central to the debate. The artist is inseparable from these matters of exchange. His training, his visual and intellectual cultures help form a personal manner that is then disseminated in the course of new commissions and workings, accelerating the communication of models and ideas. The patron also merits considerable attention. The patron's family connections, culture, political and religious allegiances, desire to demonstrate through munificent and innovative buildings his social success and standing also contribute to the dissemination of artistic ideas
El Renacimiento en Périgord presenta un incómodo vacío historiográfico y científico que se ve compensado de manera puntual por ciertas publicaciones monográficas e investigaciones a nivel universitario. No obstante, de finales del siglo XV a principios del XVII aparecen en el condado de Périgord, extenso territorio situado al este de la Guyena, un gran número de residencias, tanto civiles como religiosas, que son renovadas o reconstruidas según los nuevos criterios de comodidad y estética. Esta vitalidad se ve asegurada por una importante densidad de casas nobiliarias, la cual contribuye al desarrollo de su diversidad gracias a la red de influencias y a cuestiones de gusto e imitación. Entre las influencias registradas algunas están sencillamente relacionadas con las modas de «arquitectura a la antigua» y con el manierismo, otras más específicas se hacen eco de ideas artísticas y de artistas exógenos como Pierre Esclache, de Auvernia, o Jean y Nicolas Rambourg, de Lorena. A esto se añade una cultura erudita que se compone de grabados, planchas de bronce y escritos teóricos. Son sin embargo los actores humanos, más allá de los intercambios y las influencias, los que deben situarse en el centro de las problemáticas. El artista y el intercambio son indisociables: su formación, su cultura visual e intelectual favorecen la aparición de un estilo que difunde a lo largo de obras de construcción y encargos, acelerando la difusión de ideas y modelos. El promotor merece también una atención especial: su red familiar, su cultura, su ideología, su credo, su deseo de mostrar a través de munificientes e innovadores edificios su ascenso y posición social, contribuyen también por su parte a la difusión de ideas artísticas
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Brunckhorst, Friedl. "Architektur im Bild : die Darstellung der Stadt Venedig im 15. Jahrhundert /." Hildesheim ; Zürich ; New York : G. Olms, 1997. http://catalogue.bnf.fr/ark:/12148/cb37038639k.
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MacElwee, Andrea L. (Andrea Laurel). "Allegory and the architecture of Francesco Borromini." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22545.
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This thesis relates the aspirations (examined in political treatises, literary programs and scientific treaties) of Pope Urban VIIIth with the allegorical spaciality of the architecture of Francesco Borromini. The projects initiated under the patronage of the Pope are particularly related to the Pope's election. Urban's personal impressa, the Angelic Sun is an emblem of this election, a reborn sun, a second personal birth and the elevation of the Angelic Pope (the leader of the age of the Holy Spirit). This is allegorically a metamorphosis like the re-birth of Daphne into Laurel; the Tree of Aeneas and Rome and the principal Barberini impressa. As a dynastic emblem the Laurel unites the cosmic territories of the sun and the moon, the traditional emblems of cosmic kingship and world domination. The metaphysical marriage to Rome (coronation and marriage are ritually linked, like the union of the sun and the moon) metaphorically appropriates the capacity of giving birth through construction, to a new city, an intellectual city in the image of Urban, the threshold for spirit. The architecture 'contains' this intellectual body (city), a dynastic emblem of the Angelic Pope.
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Heil, Elisabeth. "Fenster als Gestaltungsmittel an Palastfassaden der italienischen Früh- und Hochrenaissance /." Hildesheim ; Zürich ; New York : G. Olms, 1995. http://catalogue.bnf.fr/ark:/12148/cb370347643.
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Marianacci, Caitlyn D. "Old Masterpieces, New Mistress-pieces: Cindy Sherman's Reinterpretations of Renaissance Portraits of Women." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/840.
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This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.
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Barry, Marie Porterfield. "Lesson 10: The Northern Renaissance and Arnolfini Double Portrait." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/11.
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Barrett, Anne Rachelle. "The Consul Smith Palladio at Virginia Commonwealth University and the American Renaissance /." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1239.
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Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.
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This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only one hundred years apart, they present uniquely different strategies for the purpose of creating and maintaining their power through the patronage of art.
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Gómez-Moreno, Calera José Manuel. "La arquitectura religiosa granadina en la crisis del Renacimiento, 1560-1650 : Diócesis de Granada y Guadix-Baza /." Granada : Universidad de Granada, 1989. http://catalogue.bnf.fr/ark:/12148/cb35511831v.
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Ben, Jemâa Hadhami. "L'invention de l'architecture de la Renaissance française au XIXè siècle : le regard de Léon Palustre." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2025.
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La littérature artistique française du XIXe siècle est bipolaire dans sa représentation de l’introduction de l’italianisme en France. Entre décadence du génie français et célébration de la rénovation architecturale opérée par des agents de la Péninsule, rares se font les positions nuancées. La figure de Léon Palustre marque le paysage historiographique de l’époque par une approche dialectique aboutissant à une synthèse réconciliant les styles. Le présent travail analyse les topoï d’une historiographie où le récit événementiel, la rhétorique et l’attributionnisme postulent une symbiose entre Renaissance et génie nationalNineteenth century’s French artistic literature states a dualism in its representation of Italian forms’ appearance in France. Nuanced opinions were rare in between those who pretended the decadence of French genius and those who, contrariwise, extolled the architectural renovation carried out by agents of the Peninsula. Léon Palustre distinguished himself in the historiographical landscape by a dialectical approach generating a reconciling synthesis of styles. This work analyses the topos of a dissertation where history, rhetoric and attributionnism postulate a symbiosis between Renaissance and national genius
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Roy, Francine 1948. ""...Templum nova forma constructum..." : early 17th-century late Gothic churches in Wolfenbüttel and Bückeburg." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31137.
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In the years around 1600, a change was noted in architecture towards a return to Gothic elements in Europe. The Gothic, in contrast to the Classical or Ancient, became a "new manner", a modern style. The residence churches at Wolfenbuttel and Buckeburg, which were erected around 1600 by Lower Saxon territorial princes, are Late Renaissance constructions that were made to look partly Gothic. This was neither a lingering on of Late Gothic design nor a misunderstanding of Renaissance architecture: it was rather a conscious evocation of the past and its merger with contemporary architecture. The forms of the churches recreated thus the sociopolitical reality of both Roman antiquity and the Middle Ages. This architecture was also emblematic in that it used the concrete objects of the churches as a means to convey an abstract content. Indeed, the aim was to provide a powerful political message, the confirmation of princely rule. In the rising absolutism of the beginnings of the 17th century, the builders of the Wolfenbuttel Marienkirche and the Buckeburg Stadtkirche used court architecture to construct their princely image and house mythology.
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Kanerva, Liisa. "Defining the architect in fifteenth-century Italy : exemplary architect in L. B. Alberti's De Re aedificatoria /." Helsinki : Academia scientiarum fennica, 1998. http://catalogue.bnf.fr/ark:/12148/cb391068384.
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Tipton, Susan. "Res publica bene ordinata : Regentenspiegel und Bilder vom guten Regiment : Rathausdekorationen in der Frühen Neuzeit /." Hildesheim : G. Olms, 1996. http://catalogue.bnf.fr/ark:/12148/cb39149345k.
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Vigouroux, Elodie. "Damas après Tamerlan. Étude historique et archéologique d'une renaissance (1401-1481)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040278.
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Durant l’hiver 1400, le chef turco-mongol Timur Lang/Tamerlan, occupe Damas. Quand ses troupes quittent la ville en mars 1401, elle est détruite et exsangue. Si les sources historiques et les études menées présentent cet événement comme un cataclysme, l’impact des troupes mongoles sur la ville doit être nuancé. En évaluant, grâce au croisement des éléments précis présentés par les textes,l’état de Damas avant et après son passage et il est possible de proposer une vision renouvelée des événements. Cette démarche permet d’aborder sous un angle nouveau l’étude de la renaissance de la ville, d’en appréhender le rythme, les mécanismes et les acteurs, à travers l’étude des textes historiques disponibles mais aussi grâce à la découverte de documents inédits apportant un éclairage neuf sur les enjeux de la reconstruction au début du XVe siècle. Dans l’optique d’une relativisation de l’impact de l’occupation de la ville, un nouvel examen des conséquences de la déportation des artisans de Damas vers Samarcande s’impose. Ce traumatisme est souvent présenté non seulement comme l'origine d'un déclin économique de la ville mais aussi comme la cause de la disparition de sa tradition architecturale. L’analyse des monuments permet de mettre en lumière les caractéristiques des constructions qui matérialisent la reprise tout au long du XVe siècle. Cherchant à évacuer le toposet le pathos inhérents aux récits des événements, ce travail combine donc l’examen des faits affectant le paysage urbain, l’analyse des aspects économiques de la reconstruction et l’étude des données architecturales afin de tenter de mesurer les conséquences réelles du passage de Tamerlan à DamasDuring winter 1400, the turco-mongolian conqueror Timur Lang/Tamerlane occupies Damascus. InMarch 1401, after the departure of his troops, the city is destroyed and forsaken. Historic sourcesand studies present this event as a cataclysm, however, the impact of the mongolian horde on thecity has to be examined. It is necessary to estimate the condition of Damascus, before and after thisepisode. The crossing of data presented by the historic sources leads us to offer a renewed vision ofthe events. Then, the study of the revival of the city, thanks to a new approach and a newperspective, permits to discern its rhythm, its mechanisms and its central characters. Thisinvestigation is possible through the examination of the available historic texts and the unpublisheddocuments, bringing the light on the stakes of the reconstruction at the beginning of the XVthcentury. In order to complete the evaluation of the real impact of the occupation of the city, a newexamination of the consequences the deportation of Damascus craftsmen towards Samarkand iscrucial. This trauma is actually seen as the origin of an economic decline of the city and also as thecause of the disappearance of its architectural tradition. The analysis of very monument conducts tobring to light the building’s characteristics throughout the reconstruction. Trying to differ from toposand pathos inherent to the narratives of the events, this work thus combines the examination of thedamage affecting the townscape, the analysis of the economic aspects of the reconstruction, and thestudy of the architectural data, in order to measure the real consequences of Tamerlane presence inDamascus
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Herrera, Rachael. "Body, Blood, and Flood: The Ripple of Kinesics through Nature in Leonardo da Vinci's Art." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1019.
Full textAbstract:
Leonardo da Vinci's art and science have a dynamic relationship that can be used to better understand the role of the individual and the human body within his art. Leonardo believed that movements of the body were expressions of the soul. He also thought that the body was as a microcosm of the physical world. The theories, based in ancient tradition, would be challenged by his work with the human anatomy. By studying his notebooks it becomes evident that Leonardo held nature to be the highest creator of the world but as he worked to understand the human body and through extension the physical world, his ideas about nature and the divine became more incomprehensible. Leonardo's art reflects this turn of perspective as he becomes unable to define the physical world through the human body.
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Ceccotti, Camilla. "L’architettura del rinascimento a Poitiers : la ricezione del linguaggio architettonico all’antica negli edifici residenziali tra la fine del quattrocento e la metà del cinquecento." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL073.
Full textAbstract:
Notre travail de recherche se concentre sur l’apparition de la Renaissance à Poitiers et dans le territoire environnant entre la fin du XVe et le milieu du XVIe siècle. Nous en avons identifié les caractéristiques spécifiques dans le domaine de l’architecture en analysant notamment la typologie de bâtiment la plus diffusée dans le contexte urbain : celle de l’hôtel. Poitiers a connu une intense activité sur le plan architectural dès la fin du XVe siècle. Malgré cela, les études concernant le patrimoine bâti de la ville à l’époque de la Renaissance demeurent essentiellement peu développées comparativement à celles qui se penchent sur l’architecture du Moyen-Âge et du XVIIe siècle. La recherche que nous avons menée a tenté de combler cette « lacune » historiographique en analysant la production architectonique de la ville.Afin de comprendre les modalités de diffusion des modèles de la Renaissance italienne dans la région de Poitiers, nous avons examiné les principaux ensembles architectoniques qui sont exemplaires du langage régional. Nous avons tenté de comprendre la volonté de leurs commanditaires et nous avons comparé ces observations avec des données similaires concernant les principaux centres du Val de Loire. Ensuite, nous avons analysé la typologie de l’hôtel de Poitiers, le modèle de la résidence urbaine de la bourgeoisie. Le corpus architectonique poitevin considéré est constitué d’environ cinquante ensembles résidentiels édifiés dès la fin du XVe siècle. À partir de ce panorama, notre recherche s’est concentrée sur l’étude monographique de quatre bâtiments emblématiques qui témoignent du changement de langage formel (hôtels Fumé, Berthelot, d’Estissac et Beaucé)The research investigates the dynamics of the Renaissance appearance in Poitiers and in the surrounding area, in the period between the end of the 15th and the first half of the 16th century. In particular, the identification of the peculiar characteristics of the architecture was achieved favoring the analysis of the most widespread type in the urban context, the hôtel.Poitiers has known an intense architectural activity since the end of the 15th century, nevertheless, the Renaissance city remains essentially unexamined, unlike the medieval and 17th century ones. The aim of my research is to fill this historiographical gap by analyzing the architectural production from the flamboyant age to that of those centers where the Renaissance sees its first flourishing.To understand the modality of migration of the Italian Renaissance model in the Poitiers region, were examined the architectural complexes of the Early Renaissance which represent the paradigm for the whole region and the related commissions, that were receptive to the importation of classical canons. Subsequently, the construction typology of the hotel was analyzed at a local level. This hotel represents the town residence model of the French bourgeoisie, whose economic and political power increased during the 15th century. The Poitiers’s architectural corpus, here considered, consists of about fifty residential complexes, built starting from the end of the 15th century: starting from such a considerable panorama, the research focused on the monographic study of four architectures, emblems of the change of stylistic language (the Fumé, Berthelot, d’Estissac and Beaucé hôtels)
La tematica di ricerca indaga la comprensione dei meccanismi di apparizione del Rinascimento a Poitiers e nel territorio circostante, in un lasso temporale compreso tra la fine del XV e la metà del XVI secolo. In particolare, si sono individuati i caratteri peculiari nell’ambito dell’architettura, privilegiando l’analisi della tipologia più diffusa nel contesto urbano, quella dell’hôtel.Principale polo della provincia storica del Poitou, Poitiers ha conosciuto un’intensa attività sul piano architettonico a partire dalla fine del XV secolo ma, ciononostante, la città nel Rinascimento resta essenzialmente non esaminata, al contrario di quella medievale e del XVII secolo. La ricerca ha tentato di colmare questa “lacuna” storiografica analizzando la produzione architettonica dall’età flamboyant raffrontandola a quella di quei centri, non lontani, dove il Rinascimento vede la sua prima fioritura, come Tours e Blois.Al fine di comprendere la modalità di migrazione del modello Rinascimentale italiano nella regione di Poitiers, si sono innanzitutto esaminati gli insiemi architettonici significativi del Primo Rinascimento che rappresentano il paradigma per tutta la regione e le relative committenze, sensibili all’importazione dei canoni classici, comparando i tempi e le modalità di diffusione con le vicissitudini dei centri della Valle della Loira.Successivamente, partendo da uno studio storico e urbano, a livello locale si è approfondita la tipologia costruttiva dell’hôtel, modello di residenza cittadina della ricca borghesia francese, il cui potere economico e politico è aumentato nel corso del XV secolo. Il corpus architettonico potevino considerato è costituito da circa cinquanta insiemi residenziali, edificati a partire dalla fine del Quattrocento: muovendo da tale considerevole panorama, la ricerca si è concentrata sullo studio monografico di quattro architetture-emblema del cambiamento di linguaggio stilistico. A partire dal flamboyant hôtel Fumé, si è passati ai contemporanei hôtels Berthelot e d’Estissac, considerati i primi edifici rinascimentali, fino ad arrivare all’hôtel Beaucé, che riflette delle soluzioni formali compiute del Rinascimento francese maturo. Nel quadro dello studio delle committenze, inoltre, si sono analizzate anche le cappelle fatte erigere a Notre-Dame-La-Grande, a Saint-Germain, a Saint-Hilaire e i castelli delle famiglie Fumé, Berthelot, d’Estissac
El tema de investigación estudia los mecanismos de aparición del Renacimiento en Poitiers y sus aledaños, en un lapso temporal comprendido entre el final del siglo XV y la mitad del XVI. En particular, han sido individuadas sus peculiaridades en el ámbito de la arquitectura, privilegiando el análisis de la tipologia de mayor difusión en el contexto urbano, el hôtel.Poitiers, polo principal de la antigua provincia de Poitou, vivió una actividad intensa en el campo arquitectónico hacia finales del siglo XV. No obstante, la parte de la ciudad de época renacentista no ha sido exhaustivamente estudiada, a diferencia de los periodos medieval y del siglo XVII. La investigación busca completar este “vacío” historiografico analizando la producción arquitectónica realizada en la edad gótico-tardía y relacionándola a aquella de otros centros de las cercanías, en los que el Renacimiento se difundió tempranamente, como son Tours e Blois.Con el fin de comprender la modalidad de migración del modelo renacentista italiano en la región de Poitiers, se han examinado en primer lugar los complejos arquitectónicos emblemáticos del primer Renacimiento, que representan un modelo para toda la región, y sus respectivos promotores, atentos a la adopción de cánones clásicos, comparando tiempos y modalidades de difusión con las vicisitudes de los centros del Valle del Loira.Posteriormente, partiendo del aspectos historicos y urbanos, se profundizó a nivel local el examen de la tipología contructiva del hôtel, modelo de estancia de la rica burguesía francesa, cuyo poder económico y político se incrementó durante el siglo XV. El corpus arquitectónico potevino tomado en consideración está constituído por cinquenta conjuntos residenciales aproximadamente, construidos a partir de finales del Cuatrocientos: dada la amplitud de casos, se ha desarrollado el estudio monográfico de cuatro ejemplos emblemáticos del cambio del estilo en el lenguaje. Partiendo del flamboyant hôtel Fumé, y pasando por sus contemporáneos hôtels Berthelot y d’Estissac, considerados los primeros ejemplos renacentistas, se ha llegado al hôtel Beaucé, el cual refleja las soluciones formales adoptadas en el Renacimientos francés maduro. En el ámbito de las indagaciones sobre los promotores, además, han sido analizadas las capillas construídas en Notre-Dame-La-Grande, en Saint-Germain, en Saint-Hilaire y los castillos de las familias Fumé, Berthelot, d’Estissac
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Jacquemart, Jean-Pierre. "L'architecture comtoise au second seizième siècle : classicisme renaissant et maniérisme." Besançon, 1995. http://www.theses.fr/1995BESA1036.
Full textAbstract:
Apres les devastations de 1479, la reconstruction des cites comtoises s'inspire longtemps des schemas medievaux. A partir de 1522-1525, l'esthetique renaissante penetre en franche-comte, grace a l'impulsion de notables, proches de marguerite d'autriche. L'edification du palais granvelle a besancon, en 1534, s'inscrit encore dans la ligne du quattrocento. Des 1560, s'effectue dans le nord de la province, puis a dole, l'emergence de la sensibilite artistique nee de la rencontre entre le modele bisontin et les realisations de dijon, langres et du pailly. Vers 1575, le long regne des le rupt a dole et la carriere de richard maire a besancon sont interrompus par l'arrivee de l'architecte dijonnais, hugues sambin, qui initie artisans et commanditaires aux formes manieristes. Apres son passage, aucune personnalite artistique exterieure ne se manifeste plus en franche-comte. Dans la presque totalite du territoire, la construction de prestige subit un ralentissement. L'activite se maintient cependant a dole. De 1590 a 1636. Parmi les artisans, de vehtables chefs de chantiers apparaissent tels oudot maire. Jean rabicant et louis prevost. Sans rivaliser avec les realisations francaises contemporaines, la franche-comte au "second xvi eme siecle" offre un ensemble dense d'edifices nettement types, peu influences par l'appartenance au saint-empire romain germaniqueAfter the devastations in 1479, the reconstruction of the cities in franche-comte was long inspired by middle-ages patterns. From 1522-1525 renaissance aesthetics penetrated franche-comte, through the impetus given by notables closely related to marguerite of austha. The construction of the palais granvelle in besancon in 1534 still lay within the framework of the quattrocento. From 1560 the artistic sensitivity resulting from the conjonction of the besancon model with the creations erected in dijon, langres and pailly emerged first in the north of the province then in dole. In the mid 1570s the long reign of le rupt in dole and the career of richard maire in besancon were interrupted by the arrival of hugues sambin, the architect from dijon who initiated craftsmen and would be owners to mannerism forms. After him, no important artistic outsider came to public notice in franche-comte. Almost all over the place, the construction de prestige slackened off. Nevertheless it was maintened in dole from 1590 to 1636. Amongst the craftsmen, some genuine foremen such as oudot maire, jaen rabicant and louis prevost appeared on building sites. Without comparing with the french renaissance achievements, the second 16th century franche-comte offers a dense collection of markedly characterized edifices displaying little influence of its being part of the holy roman empire