To see the other types of publications on this topic, follow the link: Still-life painting Still-life painting.
Dissertations / Theses on the topic 'Still-life painting Still-life painting'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Still-life painting Still-life painting.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Gao, Tongxin. "Still Life Portrait : Contemporary jewelry in the form of still life painting." Thesis, Konstfack, Ädellab, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7217.
Full textAbstract:
This paper presents an investigation in how a jewelry artist understands the life and death, permanence and impermanence of human, objects, and other creatures, by communicating still life in the form of jewelry. I will bring up a fact that death and impermanence have been forgotten by my peers, and use still life and contemporary jewelry to discuss it. The paper mainly talks about: my opinion upon life and death in modern society, why and how did I related them with still life paintings, how did I make my jewelry based on still life, and discusst a dilemma I met: how will jewelry be when they are on and not on people’s body.
2
Winn, Laura L. "Grandma's pitcher : a series /." Online version of thesis, 1991. http://hdl.handle.net/1850/11611.
Full text
3
Beiermann, Joyce A. "THE UN-STILL LIFE." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2046.
Full text
4
Cardwell, Thomas. "Still life and death metal : painting the battle jacket." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12036/.
Full textAbstract:
This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms. David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed.
5
Clements, Cassie. "Outside inside /." Morgantown, W. Va. : [West Virginia University Libraries], 2010. http://hdl.handle.net/10450/11100.
Full textAbstract:
Thesis (M.F.A.)--West Virginia University, 2010.<br>Title from document title page. Document formatted into pages; contains iii, 42 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 23).
6
Chéhab, Krystel. "Material conversions: naturalism, discernment, and seventeenth-century Spanish still-life painting." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52895.
Full textAbstract:
The full abstract for this thesis is available in the body of the thesis, and will be available when the embargo expires.<br>Arts, Faculty of<br>Art History, Visual Art and Theory, Department of<br>Graduate
7
McCune, Janet Marie Krupp. "Re-envisioning the ordinary : a study of vantage points in painting." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864937.
Full textAbstract:
Viewed from odd angles, the ordinary looks new and the commonplace becomes unusual. The purpose of my creative project, Re-envisionina the Ordinary: A Study of Vantage Points in Painting, was to use unusual vantage points and multiple viewpoints as compositional devices to show familiar household scenes and objects in a new way. Analysis of artworks and writings by realist painters such as Edgar Degas, Paul Cezanne and Pierre Bonnard helped me learn how each of these artists used unusual or multiple viewpoints While researching these artists, I began to understand why space is one of the fundamental issues of art. I found that, as an artist, I cannot use vantage points and viewpoints without considering the larger issue of space.Artists throughout time have wrestled with the question: how does one represent three-dimensional space on a two-dimensional surface? By presenting different treatments of space, I showed how various artists have answered the question. Leonardo da Vinci solved the problem using linear perspective. Edgar Degas and Pierre Bonnard answered the question usingoriental space and unusual or multiple viewpoints. Paul Cezanne's solution was a new system of unified space.Contemporary artists provide other answers to the question of space. Rene Magritte used the illusionary devices of linear perspective to paint his surreal world. Philip Pearlstein returned to Degas' and Cezannes' concept of space to emphasize both the three-dimensionality of the figures and the twodimensionality of the picture plane. David Hockney found his solution in the multiple viewpoints of cubism.My creative project is my answer to the question. I integrated unusual vantage points, and multiple viewpoints to create ten paintings with unified space. I used some conventions of linear perspective to show depth. For example, sizes and details in my paintings diminish with distance. I then contradicted the three-dimensionality by using some conventions of oriental space that flatten the picture plane: oblique perspective, overlapping and positioning an object next to the front surface.<br>Department of Art
8
Bivalacqua, Matthew J. "Picturing Things." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2586.
Full textAbstract:
My creative process is a ritual I use to examine my personal narrative. Digital photography is a way for me to mine an object or environment with an obsessive emphasis, and extract an image that signifies something relatable. By employing tropes derived from my personal narrative, and filtering them through image manipulation software; I am able to dramatize aspects of perspective and scale. With an automatic mark guided by printed images and projections of digital panoramic images, the surface and resulting picture comes into focus. This is a way for me to move past my experiences. Achieving this level of intimacy with the mundane objects or environments makes it possible for me to develop a personal iconography.
9
Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.
Full text
10
Cherry, Peter. "Still life and genre painting in Spain during the first half of the seventeenth century." Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309498.
Full text
11
Labuschagne, Emily. "Masters, master, masturbate (a master's debate) - relooking at the home, body and self through seventeenth century Dutch still life painting." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32716.
Full textAbstract:
The still life genre has been, and arguably still is, regarded as the lowest form of painting in Western fine art history. The absence of the human figure in still life painting means that the artist does not require knowledge of either human anatomy or history for the production of the work. Given seventeenth century female painters' exclusion from the academies where anatomy was taught, it was thus a genre regarded as appropriate for female painters in Europe prior to the nineteenth century. Such dictates of propriety were indicative of gender constructs that relegated women to the private sphere of society and the domestic environment. As an accompaniment to my Masters in Fine Art exhibition titled Masters, Master, Masturbate (A master's debate), this text explores what still life painting may reveal about the relationship between the home, the body and the self in the present day. Produced from my position as a contemporary, white, female painter of Dutch descent raised within an Afrikaner culture in the context of South Africa, I suggest that a critical reconsideration of this apparently constrictive genre offers potentially liberating perspectives of gender constructs and the female painter.
12
Boch, Elizabeth. "A Pawn’s Toil: Advocating for a Return to the Toybox." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors153599598226024.
Full text
13
Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
Full textAbstract:
This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
14
Porter, Cait. "To Find a Stairwell." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5825.
Full textAbstract:
To Find a Stairwell is an exploration and written supplement to my painted works and how it relates to loss, depression, and compulsive tendencies. Through examples of my own paintings and the research and influences leading my education is an articulate web chronicling two years of work from a focus in abstract painting to a place where representation and abstraction intersect.
15
Fegert, Elke. "Alexander Kanoldt und das Stillleben der Neuen Sachlichkeit /." Hamburg : Kovač, 2008. http://d-nb.info/989695808/04.
Full text
16
Filippa, Kenne. "Breakfast-Piece by Nicolaes Gillis : A comparative study of material perspectives." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182721.
Full text
17
Ruddock, Joanna Mavis. "Dutch artists in England : examining the cultural interchange between England and the Netherlands in 'low' art in the seventeenth century." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8632.
Full textAbstract:
The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portraitist) is one of many widely acclaimed artists of this genre; comparative to many of the artworks and artists chosen for this research. Generally Anglo-Dutch relations, politically, economically, religiously and of course culturally there was, during the seventeenth century, so much going on between these two nations. Did this intense ever-changing relationship have an impact on that the other ‘low’ genres of art that was produced throughout this century? This research involves understanding and thinking about the impact of the cultural exchange that took place between England and the Netherlands in the seventeenth century on ‘low’ art – marine, landscape and still life painting. This research entails thinking about the origins of these genres as well as looking at individual paintings on a detailed basis and understanding how this cultural interchange manifests and translates itself through visual motifs – objects (large and small), stylistic characteristics and theme of the painting. Various themes and interpretations - in particular iconography and iconology, descriptive versus narrative art and national identity - have been explored and considered in order to gain a comprehensive understanding of the literature that already exists for this art in an effort to consider something new but to also interpret the paintings in a different way – this research has considered these paintings through the visual elements and has explained the cultural significance they provide.
18
Martiníková, Zuzana. "Nepříliš známý malíř." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232411.
Full textAbstract:
Master's thesis called Not too well-known painter reacts on art of regional painter Jaromír Martiník. It is an exhibition of the work of this painter. Thanks to the intervention of author of this exhibition brings up his work into unusual context of artist from Beskydy, who is influenced by oriental philosophy.
19
Nocera, Lígia Beatriz Muller. "Tacitus: uma coleção particular de coisas inanimadas." Programa de Pós-Graduação em Artes visuais da UFBA, 2011. http://www.repositorio.ufba.br/ri/handle/ri/9861.
Full textAbstract:
Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-09T17:08:28Z
No. of bitstreams: 2
Lígia 2.pdf: 3381746 bytes, checksum: 253ceaf4171afa46f392ca545a8c304d (MD5)
Lígia 1.pdf: 2573838 bytes, checksum: fed74fe15519e90f3d6de6ed52a36cae (MD5)<br>Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:36:23Z (GMT) No. of bitstreams: 2
Lígia 2.pdf: 3381746 bytes, checksum: 253ceaf4171afa46f392ca545a8c304d (MD5)
Lígia 1.pdf: 2573838 bytes, checksum: fed74fe15519e90f3d6de6ed52a36cae (MD5)<br>Made available in DSpace on 2013-04-18T12:36:23Z (GMT). No. of bitstreams: 2
Lígia 2.pdf: 3381746 bytes, checksum: 253ceaf4171afa46f392ca545a8c304d (MD5)
Lígia 1.pdf: 2573838 bytes, checksum: fed74fe15519e90f3d6de6ed52a36cae (MD5)
Previous issue date: 2011<br>Esta dissertação detalha as etapas do processo criativo para a concepção de um painel modular de uma Coleção de pinturas figurativas de objetos singulares, constituído por 72 telas de 40 X 40 cm cada, apresentado no Museu de Arte Contemporânea do Paraná, em 2011. As seguintes ações processuais delinearam a pesquisa: uma coleta fotográfica de objetos de escolha pessoal e, ou, pertencentes a diversos indivíduos, nas cidades de Curitiba, no Paraná e de Salvador, na Bahia, acompanhada pelos depoimentos dos participantes, registrados em fichas individuais. A seguir, os objetos fotografados tornaram-se os modelos para as 72 pinturas das „coisas inanimadas‟, em referência ao gênero denominado Natureza Morta. O processo que reuniu objetos / sujeitos / interações/ pesquisadora encontra-se aqui circundado pela poética de Gaston Bachelard, apoiado nos conceitos da semiologia dos objetos a partir de Jean Baudrillard, da crítica do design, em Deyan Sudjic e observa as considerações de Gilles Lipovetsky a respeito das culturas da moda e do consumo. Georges Perec e Walter Benjamin foram buscados para assegurar os respectivos respaldos, literário e conceitual, dos significados de „coleção‟, entre abordagens igualmente verificadas junto a outros autores complementares para, metodologicamente organizar as bases das discussões teóricas relativas aos tensionamentos plásticos propostos. Ao abrir as portas para sair da intimidade de um atelier e percorrer outros territórios e lugares, os objetos encontrados revelaram-se não apenas modelos para pintura, mas matérias mediadoras da persistência do tempo que separa os homens das suas coisas ou que, por alguns breves instantes, os une.<br>Salvador
20
Andersson, Louise. "Ylva Oglands socialrealism : Att göra det osynliga synligt." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-445.
Full textAbstract:
<p>The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.</p>
21
Pellegrin, Ricardo de. "OBJETOS MEDIADOS: PINTURAS MESTIÇAS." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/5213.
Full textAbstract:
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The present research on Visual Poetics was developed between 2011 and 2013 as an investigation that was established by the
combination of artistic practices and theoretical reflections, whose results reflect upon poetic strategies adopted by the conception
and realization of those works. The proposal is based on contemporary issues that deal with the representation of objects in
painting (still life) through the use of technical image, pictorial process that relates the concept of miscegenation. It was identified in
those poetic strategies that the questions moved from the objects to the noise through mediated technique (optic) of the model. The
confrontation between practice of studio and the data collected, visual and conceptual, intend to revitalize painting, permeating
manual work with the perception from the mediated technique in order to demonstrate a view that makes connection with the issues
from contemporaneity.
Keywords: Painting, Mediation Technique, Still life, Optics, Noise<br>A presente pesquisa em Poéticas Visuais foi desenvolvida entre 2011 e 2013, como uma investigação que se estabeleceu na
conjugação da prática artística a uma reflexão teórica, cujo resultado aborda as estratégias poéticas adotadas na concepção e
realização desses trabalhos. A proposta instaura-se nas problemáticas contemporâneas da representação de objetos na pintura (natureza-morta) através do emprego da imagem técnica, processo pictórico relacionado ao conceito de mestiçagem. Identificadas nas estratégias poéticas as questões deslocaram-se dos objetos para o ruído gerado pela mediação técnica (óptica) do modelo. O confronto entre a prática de ateliê e os dados coletados, visuais e conceituais, pretende revitalizar a pintura, permeando este fazer manual com a percepção adquirida da mediação técnica, a fim de gerar uma visualidade que dialogue com as questões eminentes da contemporaneidade.
22
Litwinowicz, Michel. "Rome et Naples, deux écoles de nature morte au XVIIe siècle et leurs échanges." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP034/document.
Full textAbstract:
L’école romaine et l’école napolitaine de nature morte comptent au XVIIe siècle parmi les plus importantes dans la peinture européenne. Pendant tout le Seicento, elles sont restées étroitement liées, en multipliant les tableaux de fleurs, fruits, légumes, poissons, gibiers, sous-bois.... La thèse étudie l’évolution de ce genre à Rome et à Naples et les resitue dans le vaste tissu des échanges culturels et stylistiques entre ces deux capitales. Elle analyse la place de la nature morte dans le marché de l’art (circulation, marchands, prix, estimations) et dans les collections. Le goût de mécènes variés pour ces tableaux est étudié. Des comparaisons formelles entre les œuvres de différents peintres, comme Mario dei Fiori et Paolo Porpora, Michelangelo Cerquozzi et Giovanni Battista Ruoppolo ou Giovanni Battista Recco et Gian Domenico Valentino sont effectuées. On explique également le rôle d’Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci, et Andrea Belvedere<br>The Roman and the Neapolitan school of still-life painting are in 17th Century among the most important in Europe. During the whole Seicento, these two schools are closely tied and produced a large amount of paintings of flowers, fruits, vegetables, fishes, game, woodland Scenes (sottoboschi)… This PhD analyses the evolution of still-life painting in Rome and in Naples and places it in the numerous stylistic and cultural exchanges between these two capitals. The place of still-life painting in the art market (circulation of works, merchants, prices, appraisals) and in the collections is studied. The Patrons’ taste for these pictures is examined. We carry out stylistics comparisons between works by Mario dei Fiori and Paolo Porpora, Michelangelo Cerquozzi and Giovanni Battista Ruoppolo or Giovanni Battista Recco and Gian Domenico Valentino. We also investigate the role of Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci and Andrea Belvedere
23
Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.
Full textAbstract:
The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.
24
Frederick, Jason. "Painterly struggle conflict and resolution within Raphaelle Peale's still life paintings /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0014220.
Full text
25
Kubátová, Veronika. "Domov jako místo rituálů / Nevstupovat prosím! / Zóna domova." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2019. http://www.nusl.cz/ntk/nusl-396093.
Full textAbstract:
I have been dealing with the themes of prefabricated houses and housing estates until recently. I was especially interested in their aesthetics. Order, grid and certain regularity and repeatability. At the same time, I was always interested in his social connotations, mainly because I live in these places. Gradually I became more interested in topics related to my own home. So I moved from the general themes to my own experience. But what is my home? Home is a place of utmost importance in our society. Home is made up of people, family. People have it associated with many rituals that accompany their lives often without actually being considered for them. Thanks to these rituals, we manage, among other things, the everyday influx of positive and negative influences of the surroundings and deal with them in various ways. Morning coffee, brushing your teeth, lighting a candle, wiping dust, filling a bath, scattering water on flowers, etc. Balance is the key to everything we do. And I would like to analyze, document and process these home and personal rituals in this work. The final thesis will consist of a free series of paintings with possible interventions and overlaps into video or installation, etc.
26
Salvi, Claudia. "Jean-Baptiste Monnoyer (Lille 1636 – Londres 1699) : peindre des fleurs et des fruits à l’âge classique." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3068.
Full textAbstract:
A partir de l'élaboration du catalogue de son oeuvre (tableaux de chevalet et peintures décoratives), cette thèse étudie et ré-évalue la place de Jean-Baptiste Monnoyer dans la France du Grand Siècle. L'étude des oeuvres de ses collaborateurs et contemporains permet de préciser l'originalité de sa personnalité artistique et de définir sa place dans le développement de la peinture de nature morte en France au XVIIe siècle. Né à Lille, Monnoyer arrive tôt à Paris, où il ajoute à son expérience de la nature morte nordique l'influence des peintres français de la vie silencieuse. Il inscrit aussi son nom dans le siècle de Louis XIV comme peintre décorateur, effectuant les premiers décors des résidences de jeunesse du monarque (Saint-Germain-en-Laye, Vincennes, les Tuileries). Il y donne ses lettres de noblesse au motif de la guirlande tressant la gloire du prince.Comme collaborateur de Le Brun, il travaille dans des chantiers privés (Hôtel Lambert, château de Vaux), ou des châteaux de ministre du roi (Sceaux). Il part encore travailler en Angleterre à la fin du siècle. L’abondance des commandes royales l'oblige à s’entourer d’assistants. Les enjeux artistiques de cette production sont enfin analysés : la position du genre de la nature morte dans la doctrine officielle de l’Académie et sa reconnaissance dans les collections privées ; le statut du peintre de nature morte dans la génération des classiques, de Félibien à Perrault. Enfin, le rôle fondamental de Monnoyer dans le développement et la diffusion de ce genre est étudié<br>Having compiled the entire work catalogue of Jean-Baptiste Monnoyer (easel paintings and decorations), this thesis aims to study and re-value his importance in France during the Grand Siècle.Through the study of works of his collaborators and contemporaries the uniqueness of his artistic personality is specified, as well as his position in the development of still life painting in France during the 17th century.Born in Lille, Monnoyer came early to Paris, where he joins his knowledge of Nordic still life painting to the influence of French « silent life » painters.His name is famous too during the century of Louis XIV as a painter decorator. As such, he made the first decorations for the youth residences of the monarch (Saint-Germain-en-Laye, Vincennes, the Tuileries). He there develops the importance of the pattern of the garland glorifying the prince.As a collaborator of Le Brun, he works in private worksites (Hôtel Lambert, château de Vaux), or in castles of ministers (Sceaux). He also works in England at the end of the century. Due to the great amount of royal orders, he was forced to gather assistants. The artistic issues of this production are analysed: the situation of the still life genre in the official doctrine of the Academy, and his recognition in private collections ; the position of the still life painter in the classical generation, from Felibien to Perrault. And then, the fondamental part of Monnoyer in the development and the rayonnment of this genre is studied
27
Shabtay, Talia Bess. "Still Wet: On Painting, Presence, Pleasure, and You." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250699054.
Full text
28
Cochrane, Peter. "The Wild Beasts." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5917.
Full textAbstract:
The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the character of each friend and also to the use of Nature against queer people in most legal systems across the planet. We are deemed unnatural and made criminals through inequitable semantics. The 8x10 negative becomes a portrait, a darkroom contact print that is gifted to each of The Wild Beasts, an intimate artifact of my gratitude. At these borders I lash at the histories of oppression, remaking these lineages and tools into spaces for empathy, tenderness, and love.
29
Pring, Debra. "The negotiation of meaning of the musical vanitas and still-life paintings of Edwaert Collier, c. 1640-1709." Thesis, University of London, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567928.
Full text
30
Gledhill, John. "A catalogue raisonne of the oil paintings of Matthew Smith with a critical introduction to his work." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341480.
Full text
31
Henry, Sabina I. "Light of Life." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1644.
Full text
32
Arscott, Caroline H. "Modern life subjects in British painting 1840-60." Thesis, University of Leeds, 1987. http://etheses.whiterose.ac.uk/1008/.
Full textAbstract:
A small number of paintings with modern settings and figures in modern dress can be identified in the exhibitions of the 1840s. During the 1850s such pictures became far more common, particularly in the wake of the success of William Powell Frith's outdoor crowd scene, Ramsgate Sands, exhibited at the Royal Academy of 1854, and distributed as an Art Union engraving in 1859. This thesis locates those modern life scenes in the broader context of mid-nineteenth century genre painting. Examining the critical debates of the 1840s, it is possible to identify anxieties concerning the appeal and value of genre painting, as an aspect of the political and ideological construction of the bourgeoisie. The expansion of the art-buying and art-viewing public generated critical concern over the status and powers of discrimination of middle-class patrons. Genre painting was thought to present a special danger because it offered viewers sensory stimulation, in the form of visual excitement, untempered by the moral and intellectual qualities of high art. Rather than proceding by compiling a catalogue of modern life paintings this thesis examines in depth a number of pictures produced in the 1850s. It considers, as case studies, two pictures exhibited in 1854: Ramsgate Sands by Frith, and The Awakening Conscience by William Holman Hunt. As a third example a picture by William Maw Egley, Omnibus Life In London, is investigated. This was exhibited at the British Institution, and engraved for the Illustrated London News, in 1859. These case studies develop new frameworks for the analysis of Victorianpaintings. Social and political history is not presented as background, but as integral to the construction and deployment of meaning in the pictures. The analysis draws on psychoanalytic writing and on structuralist theory. It argues that the choice of modern subjects posed particular problems for both artists and audiences. Whether the representations were of private morality and immorality, or of public situations where sexual propriety became an issue, there was an engagement by the paintings with questions of sexuality and its regulation. At the same time the viewing of these genre paintings was, in terms of contemporary critical theory, already a sexualised activity. The thesis looks at the interface between sexuality and vision in the pictures. Developments in portraiture are mapped on to changing attitudes to genre subjects in a discussion of the relationship between realism and the narrative qualities of painting in the mid-nineteenth century.
33
Akenson, David J. "Art in parallax: painting, place, judgment." University of Southern Queensland, Faculty of Arts, 2008. http://eprints.usq.edu.au/archive/00006176/.
Full textAbstract:
[Abstract]The point of this thesis is to undertake a critical engagement with the art and life debate. This debate involves, in particular, the question of the location of art. Does art belong to an autonomous field removed from ‘everyday life’, or is art located amongst the objects and daily activities of our lives? Contributors to this debate usually defend one or the other position; either defending autonomy or arguing that art is, or at least should be, part of life. The debate is located through three historical points: the avant-gardes of the early 20th Century Europe; the neo-avant-garde of North America in the 1950s – 1970s; and American formalist art and criticism of the 1930s – 1970s. The thesis then engages the debate through more recent examples of art where the binary art/life is again the principal issue. Minimalism, Installation art, Site-specific art and Wall Painting are examined in the context of the ‘end’ of modernist painting. The argument presented by the thesis will be informed by a recently emerging theoretical frame which engages the reception of Kantian and Hegelian forms of aesthetic judgment. This critical context includes the Slovenian philosopher, Slavoj Zizek; the Marxist-Hegelian theory of the German critic, Peter Burger, and the U.S. formalist critic, Clement Greenberg. The positions held by these theorists and critics will be examined through examples of art from both the modern period and more contemporary works. Through this context, the thesis positions the art and life debate within a structural analysis, arguing that art, including objects of ordinary life understood as art, occupy places within an art structure. The thesis argues that the choice between art and life is not so much a positive choice of one or the other, but rather a choice between one and the same thing seen differently; that is, the one thing seen in parallax.
34
Dean, H. A. Mark. "Illustrating Life." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1480.
Full text
35
D'Angelo, Tiziana. "Painting Death with the Colors of Life: Funerary Wall Painting in South Italy (IV-II BCE)." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10920.
Full textAbstract:
This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics.<br>The Classics
36
Wilson, John Human. "The life and work of John Hoppner (1758-1810)." Thesis, Courtauld Institute of Art (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360047.
Full text
37
Bishop, Christine Elizabeth. "Light and Life." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1951.
Full text
38
McGeachy, Heather Losey. "My life as Sistina Smiles." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/H_Mcgeachy_041509.pdf.
Full text
39
Morrisey, Jeffrey James. "Art and Social Life in Dewey and Hegel." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/dissertations/1578.
Full textAbstract:
Drawing on John Dewey's philosophy, I argue first that our distinctive human existence depends most fundamentally on practices of communication. I then argue that creative artistic work plays a crucial and inescapable role in shaping and enabling communication. The focus of my dissertation is then on showing the unique and distinctive role that art plays in facilitating the emergence of democratic culture, specifically. To make this argument I draw on Hegel's analysis of two particular artistic media: architecture and painting. I argue first that architecture, though it can serve many different functions, is most essentially the articulation of a shared sense of human dwelling. I then argue that painting, on the contrary, has as its distinctive artistic function the articulation of the distinctive experience of individuality. Turning again to Dewey, I then argue that democratic culture depends essentially on both this communal and this individualistic sense of our existence and, consequently, that in fundamental ways the historical development of the arts of architecture and painting have made possible the emergence of a democratic culture. I conclude, finally, that it is also definitive of the very meaning of democracy that it itself promote the proliferation of transformative practices of creative communication, and hence that, just as it depends inherently on a history of artistic practice, democracy must equally commit itself to the development of new forms of artistic expression.
40
Worthing, Katherine Genevieve. "The landscape of clearance : changing rural life in nineteenth-century Scottish painting." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/5498/.
Full textAbstract:
This thesis explores the incidence and import of imagery surrounding the Highland Clearances in nineteenth-century Scottish painting. It recognises that the Clearances comprised a wide range of responses to the changing economic, agricultural, and social currents that shaped Highland landscape and life throughout the late-eighteenth and well into the nineteenth-century and consequently includes paintings that extend Clearance imagery beyond the most commonly reproduced works of the era. In the Introduction to the thesis, I present the subject of the Clearances and establish the common coincidence of landscape imagery, in both painting and travel writing, that extols the Highland landscape while simultaneously recognising the vast social, economic, and environmental changes effected by the resettlements, evictions, and emigrations of the Clearance era. Chapter II offers a concise outline of the major events of the Clearance era, from about1750 through the later decades of the nineteenth century, and complements the historical details with an investigation of the existing literature on both Clearance subjects and Scottish art history. Chapter III presents an initial foray into the theme of rural distress through the early-nineteenth-century paintings of Sir David Wilkie. His works, like The Rent Day and Distraining for Rent, emerging against a backdrop of increasing countryside dispossession and, through their wide distribution as prints and within the theatre, served as emotive images depicting the plight of the rural poor, in both England and Scotland. In Chapter IV, I investigate the subject of rural labour in the paintings of the Clearance-era, arguing that a wider interpretation of the Clearance must include depictions of the changing types of employment that swept the Highlands throughout the nineteenth century. The theme of Highland emigration constitutes the main topic of Chapter V. Chapter VI explores landscape paintings and further reinforces the centrality of the Highland landscape in expressing the course and after-effects of the Clearances. The thesis closes with the conclusion that, due to the close linkage between the Clearances and the Highland landscape and to the simultaneous growth in the popularity of the area as a subject for artists, tourists, and writers, the visual imagery of the Clearance extends beyond the art of emigration and therefore also includes paintings of rural labour and landscape. This marks an approach to nineteenth-century Scottish painting that validates the works’ significance amidst the wider scope of Victorian art and that establishes their import as depictions of the course of Clearance history within the Highland landscape.
41
Earles, Bruce, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Images of the urban experience in contemporary painting." THESIS_CAESS_CAR_Earles_B.xml, 2002. http://handle.uws.edu.au:8081/1959.7/785.
Full textAbstract:
This research entitled Images of the urban experience in contemporary painting began as an investigation into the consequences of urbanism such as human alienation and personal detachment. As a studio based research, this practice was based on five individual exhibitions of contemporary paintings accompanied by four underlying theoretical exegeses. These components together with the involvement in various group exhibitions, awards and professional practice documented in a research portfolio were developed over a three-year period. As each series of paintings was exhibited, new priorities and directions were established. These developments ranged from documentation of the decline in the conscious organisation of urban life images to the utilisation of media and techniques to promote greater fluidity and painting spontaneity. The theme of human alienation in this investigation developed into a focus on the existential predicament of place-bereft individuals. As the nature of location was brought into focus, an exploration of the influence and question of place emerged. This concept gave rise to an investigation into place-panic or human anxiety at the prospect of an unknown place.<br>Doctor of Creative Art
42
Miller, Shelby E. ""The Cult of Cézanne:" Marcel Duchamp, Clyfford Still, and Banksy." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149471175808765.
Full text
43
Yi-WenHsu and 徐浥文. "The reproduction of Heda's still-life painting." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/14527463658832206651.
Full textAbstract:
碩士<br>國立成功大學<br>藝術研究所<br>101<br>Willem Claesz. Heda(1593/94-1680/82) is an important Haarlem still-life painter, who depicts 'Monochrome' still-life pieces in the Seventeenth century. Images which Heda depicts are related to the environment of the age. In the economical aspect, the objects concerned with the native production, the commodities from elsewhere in Europe, and the commodities from East and West India Company. In the religious aspect, because of the Reformation, paintings represent the spiritual content of Protestantism with the function of moral admonition. In the custom, still-life painting are connected to everyday life, like genre painting, which reproduces realism and seeming realism.
The oeuvre of Heda in according with the style could be divided into three portions─the early stage about 1625-1633, the mid stage about 1634-1638, and the later stage about 1640-1665.And in according with the subject matters it could be divided as 'The Vanitas', 'The Breakfast pieces', and 'The Banquet pieces'. The artist represents the true life and at the same time integrate the warning message. Through the analysis of Heda's 60 works, we can observe that the three styles and the three subject matters are interweaved with the characteristic of repetition through the composition of form. While the repetition are also applied to the interpretation of content by using of realistic technique, monochrome depiction, and individual composition. The paintings show the concept of vanity with the moral warning and the spiritual permanent.
44
Jersky, Michelle. "Meaning in Cezanne's still-life paintings." Thesis, 1992. https://hdl.handle.net/10539/25662.
Full textAbstract:
A Dissertation Submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg, for the
Degree of Master of Arts.<br>This dissertation examines Paul Cezanne's still-lifes and proposes
that the interpretation of meaning in these works depends upon the
analysis of their stylistic elements.
In Chapter 1 it is argued that the relationship between meaning and
interpretation in the discipline of Art History is a complex one. An
examination of the recent theoretical literature offers valuable
insights into the ways in which art historians have assessed this
relationship and the ramifications not only for the discipline, but for
the Interpretation of Cezanne's still-lifes.
The different ways in which scholars have interpreted Cezanne's
oeuvre (particularly in relation to formalist approaches) are
examined in the overview of the Cezanne literature in Chapter II. It
is suggested that the existing body of interpretations in the
literature forms an important part of a work's meaning and that
therefore, the meaning of Cezanne's still-lifes should not be
considered in an historical vacuum. furthermore, it is argued that
the formalist interpretation of Cezanne's still-lifes warrants reevaluation,
In Chapter III selected still-lifes are analyzed. The traditional art:
historical dichotomy, reflected in the Cezanne literature, between
'form' and 'content', is challenged, The genre of still-life is
contextualized in relation to Cezanne's other genres to substantiate
the notion of a 'drama of style' evident in the still-lifes. It is argued
that a stylistic approach to the still-lifes reveals both the importance
of style in the interpretation of meaning in the still-lifes and the
notion of artistic process evident in these works.<br>Andrew Chakane 2018
45
Farber, Leora Naomi. "Opticality and tactility in selected South African still-life painting." Thesis, 1992. http://hdl.handle.net/10539/23004.
Full textAbstract:
A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in fine Arts
Johannesburg 1992<br>This research examines some ways in which source material is interpreted in still life painting.
These interpretations will be explored from two positions in painting.
For my purposes, these positions will be termed opticality and
tactility. [Abbreviated Abstract. Open document to view full version][<br>MT2017
46
王皓諄. "Painting Research in Contemporart Material Culture and the Still Life Image." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/cakv7u.
Full textAbstract:
碩士<br>國立臺灣師範大學<br>美術學系<br>100<br>In the primitive society human beings can exchange the materialls they need, by way of bartering. For example, a sheep is exchanged for a stone ax. But sometimes because of the restriction of categories of the exchanged materials that both sides can accept have to be sought out. Since then the most original currency begins, such as livestock, salt, rare shells, rare birds’ feathers, precious stones, alluvial gold, stones and so on. Those are not easy to get in large quantity and they have all been used as currencies in ancient times. In the modern society, “material "is transformed into an important element in our world. It makes us have some social contact with others, which affects the value of our actions and life. The materials provide us more concrete and longer lasting way to share value activities and lifestyles than language and direct interaction.
In the modern time, currency has promoted the prosperity of the business transaction and has contributed to our civilized society. It provides us not only wealth and enjoyment but also a better quality of life. It even brings the rich incredible power that it is beyond our imagination. Therefore, the currency has gone beyond its monetary value, and people want to obtain it and keep obsessed continuously.
The pieces of art work is to explore the role of monetary symbols in the contemporary and materialized world, and investigate the significance of still images presented on the screen. Through the objects created in the culture of the consumption society, such as coins, paper money, paper bag etc. The painter tries to interpret people’s confusion, restlessness and anxiety within the construction of money under the Capitalism of the postmodernism.
47
Paul, Tanya. ""Beschildert met een Glans" : Willem van Aelst and artistic self-consciousness in seventeenth-century Dutch still life painting /." 2008. http://wwwlib.umi.com/dissertations/fullcit/3312159.
Full text
48
Yu, Sheng-Ruei, and 余昇叡. "Chess Piece Metaphors and Illumination: A Study of the Creative Process in Still Life Oil Painting By Yu, Sheng-Reui." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8kcfuk.
Full textAbstract:
碩士<br>國立臺灣師範大學<br>美術學系<br>106<br>Abstract
This study is based on my personal life experience, creative style and year-long study of oil painting materials and techniques of realism.Using expressive still lifes as the subject matter of expression, I attempt to find my work’s standing in the sequence of Western art history.
A novelist recreates his inner fantastic stories through words and turns real life scenarios into an experience of beauty. I, on the other hand, lure viewers into my inner world through strokes from my brushes and preserve life as stills in my painting.
In Chapter 1: Purpose of Study and Motivation, the reasoning behind using chess pieces as symbols is explored through personal life experiences and my background growing up. The review of literature is the focus of Chapter 2: The Subject Matter and Signification of Western Still Lifes. The role of still life in the history of art is clarified through still lifes from the Netherlands in the 17th century. The value of this study of the creative process slowly manifests as the topics of trompe l'oeil and “painter presence” in still-life paintings are discussed.
Chapter 3 explains the ideal behind the “study of illumination” series and seeks to find mental belongingness through the visual sensation evoked and scholarly thinking involved in every individual work.For me, art is the source of creation, and the contradiction between the fleetingness of life and eternity of time turns painting into a power force that motivates self-elevation and shines through the hardships of life.
Chapter 4 delves into the study of oil painting materials and thoroughly depicts details of the creative process, sharing my techniques to study oil painting materials through publication of this thesis.
Chapter 5 summarizes the academic basis, analysis of literature, ideals of finding one’s standing through one’s work and breaking down techniques of utilizing oil painting materials in the aforementioned 4 chapters, and concludes the whole thesis.
Art is a means for painters to express themselves, create or imitate reality, but it alsoreflects the instinct to play and is a reflection of inner life. Through sincere self-examination, observation, meditation and reflection, I hope that my future works will expand its creative diversity and discover the common life value of human beings.Then perhaps one day,I could establish myself as a contributor to the still-life genre and leave a mark in the long vast history of art.
Keywords: Light, Chess, Still Lifes, Trompe l’oeil
49
Kao, Wen-Hsuan, and 高文萱. "Re-evaluating the position and influence of Chardin's still life in the tradition of French painting by investigating Diderot's Salons criticism." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/23110105161758359168.
Full textAbstract:
碩士<br>國立中央大學<br>藝術學研究所<br>93<br>Among numerous painters in eighteenth century France, Chardin is Undoubtedly an unique figure. There are some contradictions between his status in Academy, his several shifts on the choices of subject matter during his career, the way by which critics at that time assessed his painting and his position in French tradition of painting which is still under construction by art historians. However, it is those contradictions of different contexts mentioned above evoke the initial curiosity of this thesis. Therefore, the main effort of this thesis is try to find out a kind of coherence explainable for the nature of Chardin’s art and to resolve the complicated contradictions just mentioned.
For this reason, this thesis tries to re-evaluate the still life of Chardin by analyzing the art criticisms in eighteenth century. Among those critics, via the discussion of commentators of nineteenth century and art historians of twentieth century, Diderot’s criticisms are adopted as not only the important sources for understanding the art of Chardin but also the materials for constructing his historical position. Thus, this thesis aims to re-interpret Diderot’s criticism in order to re-discover the quality of Chardin’s works and to re-place his art. Meanwhile, by doing so, the main concern of this study is transferred from the direct discussion of Chardin’s painting surface to analyze the specific relationship between the artistic form and the audience. This thesis attempts to investigate in which way Chardin’s art has been accepted and interpreted at his time on one hand, and indicate how the critical language which responds to Chardin’s artistic style has been developed by audience of eighteenth century on the other.
Diderot’s position to Chardin’s art drawing from criticism can be considered in two way: trompe-l’oeil and the technicity of painting. As to the former, because of the influence from empiricism, Diderot legitimatised and raised the status of illusion, which used to be devaluated in the classical theory of Academy, and then developed a new kind of visual experience of looking at his still life. However, this new looking experience corresponds to his discovery of the technicity from Chardin’s works. In this context, Diderot’s viewpoint shifts from art as a natural replica or transparent illusion, to art as representation. During this process, the object of aesthetic activity expands and transfers to the inherent qualities of painting and the manual aspect of artistic practice. Moreover, Diderot also detects the intuitive looking pattern and critical rhetoric appropriate to his experience.
Finally, this study retraces Diderot’s criticism, the quality of Chardin’s painting, the looking pattern which corresponds his criticism back to the French cultural tradition and find out that there are precedents which possess similar qualities and can be regarded as examples opposite to Italian tradition. Therefore, it reveals the relativity of French painting tradition to the other traditions it inherits—the Italian and the Flemish tradition for example. On the spectrum of art history, if the Italian tradition presents those related to discourse, such as reason, mind, spirit and lines etc, then, their oppositions are those excluded from discourse, such as sensation, sense, material and color etc. Since the art of Chardin and Rococo both demonstrate the artistic pattern and looking relationship related to the latter, they belongs to the French tradition which is opposite to Italian tradition. Hence, Chardin inherits the aesthetic qualities of Rococo on one hand, he also takes nature as an object of observation, and translates his visual experience to two-dimensional plane on the other. That’s the reason that Chardin’s art plays a crucial role in the historical development of French painting.
J.B.S Chardin, Denis Diderot, Still life, Art criticism, Salons, Tradition of French painting