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Bantleon, Katharina. "Vincent van Gogh im Spielfilm Leben und Werk des Künstlers in Vincente Minellis Lust for Life". [Graz] Graz Grazer Univ.-Verl. Leykam, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3118753&prov=M&dok_var=1&dok_ext=htm.
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Busshoff, Maria Antonia. ""Es bleibt alles wüst" : Vincent van Goghs Selbstkonzept im Horizont der Daseinsrechtfertigung /". Köln, 2002. http://catalogue.bnf.fr/ark:/12148/cb39167871f.
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Muller, Heather Ruby. "Vincent van Gogh : a psychobiographical study". Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1293.
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The aim of this study is to create a psychobiography of Vincent Van Gogh who was born in 1853 and died 1890. To Van Gogh art was not merely a means for an income, he converted all his aspirations and anguish into his art works. In doing so his art became the first example of a truly personal art, to him art was a deeply lived means of spiritual salvation, which he used as a means to transform himself. It was well known that Van Gogh was unstable and felt misunderstood in life, often asking “What is the use?” . He had a method of fusing what he saw in the world, and what he personally felt, into works of art that were revelations of himself. Van Gogh lived a lonely life, although for the last seventeen years of his life he wrote to his brother, Theo, almost daily. These letters give much insight to the thoughts and inner world of a much misunderstood individual. Most of these letters have been preserved and much else has been written about Van Gogh’s life and art. In our modern day he is deemed one of the most famous artists, yet in his lifetime he only sold one painting. This psychobiography employs a qualitative psychobiographical research method, which aims to describe Van Gogh’s psychological development in terms of Erik Erikson’s psychosocial developmental stages. Van Gogh was chosen as the research subject because of personal interest, his value as a famous artist, and because of the unique way in which he saw and related to the world.
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Poiré, Hélène. "Autographie du corps parlant, Vincent van Gogh". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ31505.pdf.
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Ribeiro, Claudete. "Arte e resistência : Vincent Willem Van Gogh /". São Paulo : [s.n.], 2000. http://hdl.handle.net/11449/116108.
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Resumo: Esta tese apresenta uma proposta interdisciplinar para abordar o objeto artístico, almejando demonstrar como a Psicologia pode enfocar a leitura e a interpretação das produções artísticas visuais. Foram aplicados métodos psicológicos considerados eficazes para entender o fenômeno artístico e, assim, interpretar o trabalho do artista. O instrumental teórico foi o da apreensão fenomenológica e o conhecimento psicanalítoco. Trinta e nove telas de Van Gogh (produzidas em Arles, 1888; no asilo de Saint Rémy, Provence, 1889; e em Auvers Sur Oise, 1890) foram selecionadas para análise. Foram Observados os aspectos da visualidade da obra, segundo a ótica fenomenológica, e as imagens foram investigadas em sua disposição em um espaço simbólico do espaço pessoal do artista, dos elementos configurados que compõem a foma, da iluminação e cor empregadas no trabalho e da dinâmica e expressão dos conteúdos manifestos. A tese constitui-se de quatro capítulos. O primeiro apresenta a história do artista; o segundo, a teoria para abordar a percepção fenomenológica, definindo elementos utilizados para interpretar o objeto artístico; o terceiro analisa as imagens produzidas por Van Gogh no período estudado; o quarto diagnostica, analisa e interpreta a expressão das imagens. Foi também analisada a temática explorada pelo artista, de acordo com sua manifestação simbólica. A trajetória deste trabalho assemelhase ao psicodiagnóstico, que levanta hipóteses e verifica se elas são verdadeiras ou falsas. Assim foi levantada a hipótese de que a arte atuava na existência do artista como um procedimento terapêutico e mantenedor do seu equilibrio. A maior êncase da literatura recai na loucura de Van Gogh como propulsora de sua obra, visão oposta à desta tese... (Resumo completo, clicar acesso eletrônico abaixo)Abstract: This thesis presents an interdisciplinary proposal for the consideration of works of art, with the aim of demonstrating how Psychology can focus the reading and interprettation of visual artistic products. Psychologsical methods considered effecstive in the understanding of the artistic phenomenon and thus in interpreting the artist's work were applied. The theoreticaal tools were those of phenomenological apprehebsuaib and psychoanalytical khowledge. Thity-nine paintigs (produced in Arles, 1888;in the asylum in Saint Rémy, Provence, 1889; and in Auvers Sur Oise, 1890) were selected for analysis. The visual aspects of the work were observed from the phenomelological point of view and the images were investigated in their disposition in a space symbolizling the artist's personal space, the configuared elements which compose the form the illumination and color used in the work, and the dynamics and expression of the manifest contents. This work consists of four chapters. The first presents the artist's history; the second, the theory of phenomenological perception, defining the elements used to interpret the work of art; the third an analysis of the images Van Gogh produced in the period under discussion; the fourth, contains the diagnosis analysis and interpretation of the forms of expression of the images. The themes the artist explored were also analyzed in relation to their sympolic manifestation. the course of this work was similar to that of psychodiagnosis, raising hypothesis and verifying whether the were true or false. Thus, the hypothesis that art acted in the artist's life as a therapeutical procedure to maintain his equilibrium was raised. The greatest emphasis in the literature studiet falls on Van Gogh's madness as a stimulus for his art, the opposite of the view presented in this research... (Complete abstract, click electronic address below)
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Gandié-Espalieu, Christèle. "La maladie de Van Gogh". Saint-Etienne, 1995. http://www.theses.fr/1992STET6230.
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DiMarco, Christa Rose. "Painting in Paris: Vincent van Gogh, 1886-1888". Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/350384.
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Art HistoryPh.D.
In Painting in Paris: Vincent Van Gogh, 1886-1888, Christa DiMarco explores the two-year period Van Gogh lived and worked in Paris. The paintings the artist made in The Netherlands, where he lived prior to Paris, and those he produced in Arles, where he moved afterward, usually receive scholarly attention. The imagery from the artist’s time in the capital is generally marginalized. DiMarco considers how and why the artist used a brighter palette and energetic brushwork while painting in Paris. Considering that his artistic practice spanned only a decade from 1880 to 1890, the artist’s time in the capital represents a significant period of growth in terms of his engagement with the art market, his exposure to avant-garde imagery, and his understanding of Symbolist theory in the visual arts. Van Gogh accomplished significant goals in Paris, though some of his well-developed imagery does not necessarily figure into discussions regarding the canonical paintings of the artist’s body of work. Attention to the Paris-period not only locates Van Gogh’s pictorial development within the context of the Impressionists and Neo-Impressionists, but also establishes the ways in which the artist diverged from the artistic aims of the Parisian avant-garde, such as Claude Monet and Camille Pissarro, as he developed his Symbolic approach.
Temple University--Theses
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Dorn, Roland. "Décoration : Vincent van Goghs Werkreihe für das Gelbe Haus in Arles /". Hildesheim ; Zürich ; New York : G. Olms, 1990. http://catalogue.bnf.fr/ark:/12148/cb357057681.
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Homburg, Cornelia. "The copy turns original : Vincent van Gogh and a new approach to traditional art practice /". Amsterdam : [Universiteit van Amsterdam], 1994. http://catalogue.bnf.fr/ark:/12148/cb36151315h.
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Rouchès, Jean-Michel. "L'oreille de Vincent". Bordeaux 2, 1991. http://www.theses.fr/1991BOR2M194.
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REBOULET, PASCAL. "La sentinelle perdue : vincent van gogh ; ecrire pour peindre". Lyon 1, 1994. http://www.theses.fr/1994LYO1M125.
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Alexmovitz, Guilherme Aparecido Costa. "A paixão de Vincent: um estudo sobre o sofrimento de Vincent van Gogh". Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/15217.
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Previous issue date: 2012-10-23Due to the geniality and tragic history of the Dutch painter Vincent van Gogh, psychiatrists, psychologists, and scholars from around the world have written several works in order to explain the suffering that culminated in his suicide. The present work aims to approach that suffering through the existential-phenomenology approach, which allows one to understand the suffering of the painter from his own life experience. A total of one hundred and fifty-six letters sent to his brother Théo, from 1872 to 1880, was analyzed and understood through Martin Heidegger s concept of attunement, which allowed the understanding of suffering as a way of being in the world. From this theoretical framework, I elected three possible forms of the artist s suffering different attunements that were present in several moments of this particular period of his life: the weight of the other, nostalgia, and fanaticism. The result of the analysis pointed to the existential meaning behind the painful Van Gogh s way of being in the world: the search for belonging
Devido à genialidade e à trágica história do pintor holandês Vincent van Gogh, psiquiatras, psicólogos e estudiosos do mundo todo produziram estudos para explicar o sofrimento que culminou em seu suicídio. O presente trabalho objetiva aproximar-se deste sofrimento por meio da abordagem da Fenomenologia Existencial, visando compreender o sofrer do pintor a partir de sua própria experiência de vida. Um total de cento e cinquenta e seis cartas enviadas por ele ao seu irmão, Théo, no período de 1872 a 1880, foi analisado tendo como referência o conceito de tonalidade afetiva, de Martin Heidegger, que permitiu compreender o sofrimento enquanto um modo de estar-no-mundo. A partir deste referencial teórico, foi possível eleger três tonalidades afetivas que se fizeram presentes em vários momentos deste período específico de sua vida: o peso do outro, a nostalgia e o fanatismo. O resultado da análise aponta para o sentido existencial deste modo sofrido de estar no mundo de Vincent van Gogh: a busca pelo pertencimento
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Martinez, Felipe Sevilhano 1986. "Van Gogh no MASP". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279650.
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Orientador: Jorge Sidney Coli JúniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O Museu de Arte de São Paulo (MASP) possui cinco obras do pintor holandês Vincent van Gogh em sua coleção. São elas: Natureza Morta com Vaso, Prato e Flores; O Escolar; O Banco de Pedra no Asilo em Saint-Rémy; A Arlesiana; O Passeio ao Crepúsculo. O presente trabalho estuda as questões suscitadas por tais obras, de modo a compreender aspectos fundamentais sobre a obra e a biografia de van Gogh. A partir das obras da coleção, o presente estudo aborda questões que variam desde um problema de atribuição, até aspectos concernentes à mitologia criada em torno do pintor, marcada pela loucura e pelo suicídio
Abstract: There are five pictures by the Dutch painter Vincent van Gogh at the permanent collection of the Museu de Arte de São Paulo. They are: The Still Life with Vase Plate and Flowers; The Schoolboy; The Stone Bench at the Saint-Rémy Asylum; L¿Arlesienne; The Evening Walk. The present study aims to answer the questions posed by these artworks, which vary from an attribution problem to issues concerning the mythology created around the painter, marked by madness and suicide
Mestrado
Historia da Arte
Mestre em História
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Lenharo, Mariana Pereira. "Van Gogh e a melancolia: pinturas de pôr do sol em Arles". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-14112014-143333/.
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Este trabalho tem por objetivo verificar que tipo de impacto as crises de melancolia do pintor Vincent van Gogh podem ter exercido sobre sua produção artística. Os questionamentos tomados como ponto de partida são os seguintes: se o estado de melancolia impulsiona seu trabalho como artista, se a melancolia imprime características específicas em sua obra e se a arte proporciona a Van Gogh um alívio ou um agravamento de sua natureza melancólica. A pesquisa foca um período específico na vida do artista: os primeiros 10 meses em que viveu na cidade de Arles, no sul da França, entre fevereiro e dezembro de 1888. A leitura das 139 cartas escritas por Van Gogh neste período possibilitou identificar os momentos em que ele descrevia seu próprio estado de espírito como melancólico. A partir desta identificação, o trabalho parte para a análise de obras produzidas no período, das quais foram selecionadas oito telas de pôr do sol. A observação das telas sob o contexto do sentimento experimentado por Van Gogh enquanto as produzia levou, por fim, a uma reflexão sobre a relação entre melancolia e a arte no pintor.The aim of this research is to verify what kind of impact the melancholy crises of the painter Vincent van Gogh may have had in his artistic production. The questions that represent the starting point are: whether the state of melancholy impels his work as an artist, whether melancholy results in specific features in his work and whether art provides a relief or an aggravation of Van Gogh\'s melancholy nature. The research focuses on a specific period in the artist\'s life: the first 10 months in which he lived in the city of Arles, in the south of France, between February and December of 1888. The reading of the 139 letters written by Van Gogh during this period enabled the identification of the moments in which he described his own state of mind as melancholic. Based on this identification, the study starts the analysis of the paintings produced in this period, from which eight canvas of setting suns were selected. The observation of these works under the context of the emotions experimented by Van Gogh while he painted them led, ultimately, to a reflection about the relationship between melancholy and art in the painter.
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Benoit, Gae͏̈lle. "Les plantes, amies et miroir de l'âme de Vincent Van Gogh". Paris 5, 1999. http://www.theses.fr/1999PA05P186.
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Sund, Judy. "True to temperament : Van Gogh and French naturalist literature /". Cambridge : Cambridge university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb37667623m.
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Bonnat, Jean-Louis. "Ecriture(s) et peinture dans l'oeuvre de Vincent Willem Van Gogh". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37612058c.
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Corominas, Aurora. "Representació cinematogràfica del Gest de l'Artista. Mirades a Vincent Van Gogh". Doctoral thesis, Universitat Pompeu Fabra, 2003. http://hdl.handle.net/10803/7269.
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La tesis se centra en los sistemas de puesta en escena del gesto artístico de van Gogh desde una perspectiva diacrónica de la tradición cinematográfica. La hipótesis del trabajo ha sido que la representación cinematográfica del gesto artístico del pintor se desprende de la leyenda y de ésta, el gesto hereda y recrea unas formas y unos tópicos dados. Debido a la amplia filmografía existente, el hábeas de la investigación se ciñe a aquellas películas que han sido concebidas por directores con formación y experiencia pictórica: donde aparece una obra clásica de la cinematografía americana, Lust for Life, 1956, de Vincente Minnelli y dos de principios de la década de los años noventa, Los Cuervos, episodio n. 5 de Los sueños, 1990, de Akira Kurosawa y Van Gogh, 1991, de Maurice Pialat. Esta delimitación unifica la investigación a las propuestas de unos creadores cinematográficos que comparten afinidad por la práctica plástica y que han sido pintores como el sujeto de su mirada.En la primera parte de la tesis se establece la conformación de la trayectoria que lleva a Vincent van Gogh del anonimato a mito artístico del siglo XX. Con la ayuda de las aportaciones de la historia del arte, de la crítica de la obra y de la antropología cultural de autores como C. Zemel, E. Kris y O. Kurz, N. Heinich, M. Eliade, G. Pollock, P. Bourdieu y M. Delgado, se exponen las bases de esta construcción legendaria dominante. Se contextualiza a continuación la noción gesto del artista que tiene lugar en la práctica pictórica de la estética y autonomía post-renacentista, con autores como E. Ocampo, R. Argullol, R. Debray, Y. Eco y J. Clair entre otros. Para finalizar este estado de la cuestión sobre todos los temas relacionados con el objeto de estudio, la tesis analiza y contrasta la puesta en escena del gesto de la práctica pictórica en la mirada documental -la que cuenta con la presencia de un pintor real delante del objetivo de la cámara- y en la mirada de la ficción en sus dos vertientes: la del pintor del imaginario que solo tiene una existencia en la pantalla y la del pintor del pasado, cuyas obras forman parte de la historia del arte. En la segunda parte de la tesis se analizan y valoran en profundidad las tres películas nombradas en el corpus de la investigación, enmarcando su estudio en la tradición cinematográfica y a su autor en relación a la obra. Se contempla asimismo el tipo de elaboración biográfica, la encarnación del pintor -personaje, actor, interpretación- para finalmente focalizar el modelo de puesta en escena de la práctica pictórica: donde destacan los aspectos de la gestualidad, ritualización, alegorías del gesto artístico, o también su total ausencia, dependiendo de la propuesta. El camino recorrido por la investigación permite concluir que para finalizar el acto de pintar de van Gogh, Minnelli establece un canon en la forma melodramática del clasicismo avanzado, Jurosawa lo retoma para interpretar este canon desde la mirada de la post-modernidad cinematográfica y Pialat pone en escena una antítesis del canon de Minnnelli en la corriente que va del realismo cinematográfico a la modernidad. La vidibilidad del gesto artístico de Vincent van Gogh y su negación se exponen como resoluciones antitéticas, pero las dos debidas a la existencia de la leyenda de van Gogh.
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Wengler, Bernd [Verfasser]. "Vincent van Gogh in Arles. Eine psychoanalytische Künstler- und Werkinterpretation / Bernd Wengler". Kassel : Kassel University Press, 2014. http://d-nb.info/1057982148/34.
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Perottino, Serge. "Transcendance et subjectivité : les problèmes de la création : Brea, Van Gogh, Chagall". Nice, 1989. http://www.theses.fr/1989NICE2009.
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Thomas, Abbie. "Light & dark and colour in the poetry of Gerard Manley Hopkins : with intertextual reference to Vincent Van Gogh /". Title page, contents and introduction only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09art454.pdf.
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Gethöffer, Afra [Verfasser] y Hubertus [Akademischer Betreuer] Kohle. "Ein Temperament, gesehen durch die Natur : Emotion in den Landschaftsdarstellungen von Vincent van Gogh / Afra Gethöffer ; Betreuer: Hubertus Kohle". München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2017. http://d-nb.info/1155407474/34.
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Bellido, Valdivia Francisco Javier. "La pintura como expresión de lo interior". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2013. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5075.
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Haziot, Judith. "Le rôle de la facture apparente en peinture : Berthe Morisot, Vincent Van Gogh et Francis Bacon, au prisme des sciences cognitives". Thesis, Amiens, 2016. http://www.theses.fr/2016AMIE0036.
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Y a-t-il un rapport entre l'effet provoqué par une image et sa texture? L'illusionnisme pictural issu de la Renaissance, fondé sur la perspective linéaire, avait cherché à effacer toute trace de la facture en peinture. La présence du corps de l'artiste dans cette facture devenue apparente n'apporte-t-elle pas une émotion plus immédiate? Cette thèse montre que les découvertes des sciences cognitives sur la perception ont été pressenties par des peintres des XIX et XXe siècles, en particulier B. Morisot, V. Van Gogh, et F. Bacon qui ont bouleversé les habitudes du regard. Ces artistes se sont rendus compte qu'une image parcellaire, gardant sa facture visible, ne nuisait pas à la réception de celle-ci, au contraire. Van Gogh et Bacon ont fait remarquer qu'une telle manière de représenter, favorisant les "imperfections", laissant la matière apparente, produisait sur le spectateur un effet plus immédiat et plus fort qu'une autre à l'aspect fini, maîtrisé rationnellement du début à la fin. Sera analysée la démarche de ces peintres qui vont vers une prise de conscience fort intéressante au regard des sciences cognitives. Une étude anatomique et psycho-physiologique de la vision montre d'étonnantes passerelles avec les intuitions de ces peintres. La trace du geste donne des informations motrices que le cerveau peut capter. Le flou, l'inachevé appellent notre perception à combler les vides, car le cerveau ne cesse de scénariser, à l'origine pour sa sauvegarde, à partir de ce qui n'est que probable, incertain. Les surfaces où la texture est très apparente nous font pénétrer au cœur du processus de fabrication de l'œuvre, et aux conditions de possibilité de la créativitéIs there a connection between the effect produced by an image and its texture? The pictorial illusionism of the Renaissance, based on linear perspective, attempted to erase all traces of the facture in paintings. But it seems that the presence of the artist’s body in the facture of the work provokes a more immediate emotion drawn from the origins of perception. This thesis will show that discoveries in cognitive sciences on perception were anticipated by painters of the XIX and XXth centuries, especially B. Morisot, V. Van Gogh, and F. Bacon, who contributed to change the habits of seeing. Those artists found out that an incomplete image, which keeps the trace of its facture, doesn’t hinder its understanding, but does quite the contrary. Van Gogh and Bacon noticed that such a way to represent things, leaving imperfections and visible matter, produces on the spectator a more immediate and stronger effect than an image rationally mastered from the beginning to the end. The approach of each of those artists will be analysed ; they had very interesting intuitions regarding recent discoveries in cognitive sciences. Recent results from anatomical and psycho-physiological studies on the mechanisms of vision show astonishing links with the intuitions of the artists. The trace of the gesture gives motor information that the brain can grasp. Our perception completes the gaps of unfinished visual information, because our brain, originally develop for our survival, is used to build scenarios from what is only probable, uncertain. Surfaces where the texture is visible allow us to get inside the process of materially manufacturing the work, and to the conditional options of creativity
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Haziot, Judith. "Le rôle de la facture apparente en peinture : Berthe Morisot, Vincent Van Gogh et Francis Bacon, au prisme des sciences cognitives". Electronic Thesis or Diss., Amiens, 2016. http://www.theses.fr/2016AMIE0036.
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Y a-t-il un rapport entre l'effet provoqué par une image et sa texture? L'illusionnisme pictural issu de la Renaissance, fondé sur la perspective linéaire, avait cherché à effacer toute trace de la facture en peinture. La présence du corps de l'artiste dans cette facture devenue apparente n'apporte-t-elle pas une émotion plus immédiate? Cette thèse montre que les découvertes des sciences cognitives sur la perception ont été pressenties par des peintres des XIX et XXe siècles, en particulier B. Morisot, V. Van Gogh, et F. Bacon qui ont bouleversé les habitudes du regard. Ces artistes se sont rendus compte qu'une image parcellaire, gardant sa facture visible, ne nuisait pas à la réception de celle-ci, au contraire. Van Gogh et Bacon ont fait remarquer qu'une telle manière de représenter, favorisant les "imperfections", laissant la matière apparente, produisait sur le spectateur un effet plus immédiat et plus fort qu'une autre à l'aspect fini, maîtrisé rationnellement du début à la fin. Sera analysée la démarche de ces peintres qui vont vers une prise de conscience fort intéressante au regard des sciences cognitives. Une étude anatomique et psycho-physiologique de la vision montre d'étonnantes passerelles avec les intuitions de ces peintres. La trace du geste donne des informations motrices que le cerveau peut capter. Le flou, l'inachevé appellent notre perception à combler les vides, car le cerveau ne cesse de scénariser, à l'origine pour sa sauvegarde, à partir de ce qui n'est que probable, incertain. Les surfaces où la texture est très apparente nous font pénétrer au cœur du processus de fabrication de l'œuvre, et aux conditions de possibilité de la créativitéIs there a connection between the effect produced by an image and its texture? The pictorial illusionism of the Renaissance, based on linear perspective, attempted to erase all traces of the facture in paintings. But it seems that the presence of the artist’s body in the facture of the work provokes a more immediate emotion drawn from the origins of perception. This thesis will show that discoveries in cognitive sciences on perception were anticipated by painters of the XIX and XXth centuries, especially B. Morisot, V. Van Gogh, and F. Bacon, who contributed to change the habits of seeing. Those artists found out that an incomplete image, which keeps the trace of its facture, doesn’t hinder its understanding, but does quite the contrary. Van Gogh and Bacon noticed that such a way to represent things, leaving imperfections and visible matter, produces on the spectator a more immediate and stronger effect than an image rationally mastered from the beginning to the end. The approach of each of those artists will be analysed ; they had very interesting intuitions regarding recent discoveries in cognitive sciences. Recent results from anatomical and psycho-physiological studies on the mechanisms of vision show astonishing links with the intuitions of the artists. The trace of the gesture gives motor information that the brain can grasp. Our perception completes the gaps of unfinished visual information, because our brain, originally develop for our survival, is used to build scenarios from what is only probable, uncertain. Surfaces where the texture is visible allow us to get inside the process of materially manufacturing the work, and to the conditional options of creativity
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Kent, Hannah. "Silver Linings Sketchbook: An Analysis of the Benefits of Using Creative Processes to Turn Psychological Disorder and Trauma into Art". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1268.
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This senior thesis will primarily investigate artistic creativity, its relationship to psychological well-being and the power of the creative process to help harmonize internal tensions caused by either mental disorders or former traumas. I will accomplish this, first by offering a brief explanation of the evolution of creative thought, followed by various scientific explorations and theories of the connection between varying mental states and creation. I will support these findings with an analysis of the lives and works created by the painters Vincent Van Gogh, Pablo Picasso, and Frida Kahlo, all subjects of public speculation about the state of their mental health and its impact on their work. This analysis will consider the creative process as a form of psychotherapy. I will conclude by sharing a personal examination of my own history with mental health and trauma and my representation of these experiences and my ability to overcome these events in my paintings for this senior project.
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Salvant, Johanna. "Caractérisation des propriétés physico-chimiques des matériaux de peinture employés par Van Gogh : les peintures blanches". Phd thesis, Université Pierre et Marie Curie - Paris VI, 2012. http://tel.archives-ouvertes.fr/tel-00834371.
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L'œuvre de Van Gogh est le fruit d'un travail acharné et d'une recherche permanente pour nourrir ses connaissances artistiques. Pour retracer l'évolution de la technique picturale de l'artiste et répondre aux problématiques d'authentification, datation et conservation soulevées par son œuvre, une bonne connaissance des matériaux de peinture qu'il a employés et de la manière dont il les a utilisés est essentielle. Notre recherche s'est axée sur les peintures à base de pigments blancs, matériaux de base que l'on retrouve aussi bien dans les couches de préparation que dans celles de matière picturale en mélange avec d'autres couleurs. A cet égard, Van Gogh présente la particularité d'avoir eu recours à deux types de peinture blanche (le blanc de plomb et le blanc de zinc), souvent simultanément dans un même tableau, contrastant alors avec la majorité de ses contemporains qui n'ont utilisé que le traditionnel blanc de plomb. L'analyse d'un corpus de microéchantillons de peintures de Van Gogh et de peintures éprouvettes à l'aide de la combinaison innovante d'un large panel de techniques d'analyses (MEB-EDX, SR-XRF/XRD, PIXE/RBS, SR-FTIR, nanoindentation, mesures rhéologiques) a permis de mieux appréhender les propriétés chimiques, mécaniques et rhéologiques des peintures à base de pigments blancs employées par Van Gogh. Nous sommes ainsi parvenus à une meilleure connaissance : des raisons de l'utilisation conjointe des deux peintures blanches ; des éléments pouvant compromettre la bonne conservation de ses tableaux ; des rouleaux de toiles préparées Tasset et L'Hôte que Van Gogh a si souvent utilisés, permettant de progresser dans l'authentification et la datation de ses œuvres
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Farrell, Lindsay Thomas. "Visual metaphors of creation and redemption in the Assisi frescoes the art of Michelangelo and Vincent van Gogh : their implications for a post-modern aesthetic /". Theological Research Exchange Network (TREN), 1993. http://www.tren.com.
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Rangel, Marcela Freire. "Variações sobre o preto e o negro na pintura moderna". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-25102010-171519/.
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Esse estudo trata de seis variações do preto na pintura. O trabalho apresenta telas de Edouard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued e Pierre Soulages. A pesquisa das obras e procedimentos poéticos desses pintores visa a indicar para diversas maneiras como o preto, não mais usado para o sombreado, se transforma em áreas de cor e como esses campos cromáticos atuam nas pinturas. A análise mostra que a cor preta, na qual há variações de tonalidade e saturação, pode ser usada como um meio de tensão cromática na superfície pictórica, como um elemento expressivo, ou para criar uma nova espacialidade para além do plano do quadro. Vale a pena notar que esses usos não são mutuamente exclusivos e, por exemplo, o preto que cria a tensão cromática pode ser expressivo e criar uma nova espacialidade.This essay deals with six variations of black in painting. Reaserch on the production and poetic procedures by Eduoard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued and Pierre Soulages, indicates several manners where black, contrary to its use as a shadowing component, transforms itself in areas of color. The manner in which the cromatic fields act upon the painting is analised and show that the color black, with its variations in tone and depth, may be used as an element of expession; as a means for chromatic tension over the pictures surface or for the production of a new spaciality beyond its surface. These uses are not mutually exclusive and, as where black creates chromatic tension, it may also be expressive and generate a new spaciality.
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Dolan, Andrew P. "A Case for Emile Bernard: A Reconsideration of the Artist's Reputation". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437468129.
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Barrenechea, Cristina Azra. "Arte e discurso multimodal : análise da linguagem visual em sua relação com o relato da história de vida e da produção artística de van Gogh". reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21411.
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Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Linguística, Português e Línguas Clássicas, Programa de Pós-Graduação em Linguística, 2016.Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-08-19T21:01:23Z No. of bitstreams: 1 2016_CristinaAzraBarrenechea.pdf: 10654030 bytes, checksum: 4f8428156d16eda8c903eb7519c2eb00 (MD5)
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A presente tese consiste de uma pesquisa qualitativa e interpretativa realizada na área de Linguagem e Sociedade, na linha de Discursos, Representações Sociais e Textos, no Programa de Pós-Graduação em Linguística da Universidade de Brasília, Brasil. A pesquisa propôs a Tese de que o discurso artístico de Vincent van Gogh é integrado tanto por seu discurso pictórico quanto por seu discurso epistolar. A fim de compreender o discurso artístico de van Gogh no contexto de sua produção discursiva nas duas modalidades, foram analisados os elementos discursivos presentes na produção pictórica e nas cartas que o pintor escreveu acerca de sua produção artística, bem como na análise de sua história de vida. A investigação contou com o aporte de três bases teóricas da Linguística para analisar os corpora pictórico e epistolar: a Teoria Semiótica Social Multimodal (TSSM), que foi empregada para analisar a produção de sentidos nas telas; a Teoria da Linguística Sistêmico-Funcional (LSF), que auxiliou a análise da produção de sentidos nas cartas referentes às telas; e a Análise de Discurso Crítica (ADC) que subsidiou a análise de uma carta na íntegra para a compreensão de aspectos contextuais do discurso artístico. Com o emprego de categorias da TSSM, LSF e ADC e de categorias novas, propostas por esta pesquisa, foram triangulados os dados dos corpora pictórico e epistolar, para descrever as ocorrências e as recorrências de elementos ou estratégias discursivas nos dois gêneros textuais analisados. Na triangulação foram aplicadas novas categorias de análise tais como Gesto Pictórico, Transparência, Inacabamento, Incompletude e Limiar Artístico que constituem uma contribuição desta pesquisa para a área da multimodalidade, em especial para a análise do discurso artístico. A triangulação buscou investigar a colaboração entre elementos discursivos nos dois gêneros pesquisados, observando para isso, se os elementos discursivos encontrados nas telas correspondiam com alguma função desempenhada por elementos encontrados nas cartas. Dessa forma, foi analisado se e como os modos e estratégias discursivas presentes nas cartas ocorreram nas telas; e se e como os modos e estratégias discursivas nas telas ocorreram nas cartas a fim de descrever qual a natureza e função dessas ocorrências. Com a ajuda da triangulação, foi possível descrever a ocorrência dos elementos discursivos visuais que se relacionam com a ocorrência de elementos correspondentes, presentes na análise do Sistema de Transitividade das cartas. As ocorrências observadas na triangulação foram categorizadas como ocorrências de natureza semântica e léxico-gramatical. Na triangulação, foi verificada a ocorrência simultânea de mais de uma categoria na mesma oração e/ou no mesmo construto visual devido à natureza interdependente dos elementos discursivos para construir o sentido e a observação dos padrões de agrupamentos pode indicar as estratégias discursivas presentes tanto nas telas quanto nas cartas. Para sondar as conexões de nexo entre os achados da análise visual com os achados da análise textual, propus alguns caminhos possíveis de comparação: por sentido, por forma e por função. Essas possibilidades foram transpostas para as funções e metafunções visuais e da linguagem, propostas por O’Toole (1994) e por Halliday (2014) e puderam se desdobrar em diferentes combinações de acordo com sua ocorrência e intercorrência. A triangulação trouxe à tona a recorrência da combinação de usos semióticos, o que proporcionou para esta pesquisa construir, preliminarmente, uma visão panorâmica das recorrências do uso conjugado dos recursos semióticos que pode indicar a organização interna da urdidura do discurso artístico de van Gogh. ________________________________________________________________________________________________ ABSTRACT
This thesis is a qualitative and interpretative research conducted at the University of Brasilia’s Graduate Program in Linguistics, on the area of Language and Society in Discourses, Social Representations and texts, in Brazil. This research proposed the thesis that the artistic discourse of Vincent van Gogh is integrated by both his pictorial and his epistolary discourse. In order to understand van Gogh’s art discourse in the context of its production, the research analyzed the discourse’s elements of four paintings and the discourse’s elements of the letters the painter wrote about these paintings, and also, his history of life. The investigation included the input of three Linguistics’ theoretical bases to analyze the pictorial and epistolary data: Multimodal Social Semiotics Theory, (TSSM) which was used to analyze the paintings’ meanings production; Systemic Functional Linguistic Theory (LSF), which helped the analysis of the letters referring to the paintings; and Critical Discourse Analysis (ADC) which supported the understanding of contextual aspects of the artistic discourse by the analysing a full letter. With the employment of TSSM, LSF and ADC categories and the new categories proposed by this research, the pictorial and epistolary data were triangulated to describe the elements or discursive strategies occurrences and recurrences in both modalities. At the triangulation phase, there were applied new analysis categories such as Painterly Gesture, Transparency, Incompleteness and Artistic Threshold that constitute a contribution of this research to the field of multimodality, especially for the study of the artistic discourse. The triangulation sought to investigate the collaboration between discursive elements in both modalities surveyed, watching for this, if the discursive elements found on the paintings corresponded to any function performed by elements found in the letters. In order to describe the nature and function of such occurrences, it was examined whether and how the modes and discursive strategies in the letters occurred on the paintings; and whether and how the modes and discursive strategies on the paintings occurred in the letters. With the aid of triangulation it was possible to describe the occurrence of visual discourse elements that relate to the occurrence of corresponding elements found by the analysis of Transitivity in the letters. The events observed at the triangulation were categorized as instances of semantic and lexical-grammatical nature. Due to the discursive elements that build meaning’s interdependent nature, simultaneous occurrences were verified in the triangulation, in more than one category on the same sentence and /or in the same visual construct. The observation of patterns has shown the discursive strategies both in the paintings and the letters. To probe the connections of the nexus between the visual analysis’ findings with the textual analysis’ findings, the research proposed some possible ways of comparison. These possibilities were based on visual functions proposed by O'Toole (1994) and metafunctions proposed by Halliday (2014) and unfolded in different combinations according to their occurrences. The triangulation has shown the uses’ recurrence of the semiotic combinations, which provided for this research to preliminarily build a panoramic view of the combined semiotic uses that may indicate the warp’s internal organization of van Gogh’s artistic discourse.
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Collett, Rachel Joan. "Turning back : continuity and difference in modernist and postmodernist reflexivity". Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4256.
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Thesis (MA VA (Visual Arts))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: The primary function of paintings and novels in Western culture has historically been considered the depiction or description of reality. Over the course of the last century, however, the inherent reflexivity of both art and literature has become progressively more insistent and programmatic, in such a way as challenges the relationship between form and the world. A re-thinking of the role of representation is thus central to both modernism and postmodernism. This thesis is an investigation into the relationship between modern and postmodern reflexivity. Through the close examination of four artists who serve as case studies, I argue that literary and artistic modernism‟s emphasis on form and subjectivity, as well as the tendency of postmodern art and writing to flaunt its own status as rhetoric/fiction, are different facets of a continuous response to a rapidly changing world. Using the insights of post-structuralist theory, I suggest that whereas modernism‟s reflexive drive is directed towards truth and self-knowledge, postmodern reflexivity is centrally concerned with the elusive, continually shifting nature of meaning. What emerges in the light of the practice of individual artist and authors, however, is that the modern and postmodern reflexive modes are not necessarily mutually exclusive, but can co-exist, producing a vital and necessary tension.
AFRIKAANSE OPSOMMING: Beskrywing en uitbeelding van die werklikheid word geskiedkundig as die kernfunksies van skilderye en die roman in die Westerse kultuur beskou. Gedurende die laaste eeu het die inherente refleksiwiteit van beide kuns en letterkunde toenemend meer programmaties en sistematies geword. Dit het geskied op „n wyse wat die verhouding tussen vorm en die wêreld uitdaag. „n Herbesinning van die rol van uitbeelding of representasie is gevolglik van sentrale belang vir beide modernisme en postmodernisme. Hierdie tesis is „n ondersoek na die verwantskap tussen moderne en postmoderne refleksiwiteit. Deur „n noukerige ondersoek van vier kunstenaars se werk, stel ek voor dat die letterkundige en artistieke klem van modernisme op vorm en subjektiwiteit, sowel as die gebruiklike kenmerk van retoriek/fiksie, verskillende aspekte is van „n voortdurende weerkaatsing op „n vinnig veranderende wêreld is. Deur die teoretiese perspektiewe van post-stukturalisme toe te pas, stel ek voor dat modernistiese refleksiwiteit neig na die waarheid en selfkennis, terwyl postmoderne refleksiwiteit fokus op die onbepaalde en veranderlike aard van betekenis. Nietemin, uit my kritiese beskouing van die kreatiewe praktyk van afsonderlike kunstenaars en skrywers blyk dit dat die modernistiese en postmodernistiese refleksiewe benaderinge nie noodwendig mekaar uitsluit nie, maar saam kan bestaan en „n dinamiese en noodsaaklike spanning skep.
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Cheminaud, Julie. "Les évadés de la médecine : physiologie et philosophie de l'art dans la France de la seconde moitié du XIXème siècle". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040162.
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Dans la seconde moitié du 19ème siècle, des liens particuliers se tissent entre art et médecine : la médecine moderne se tourne vers les œuvres pour y découvrir une clinique, et en retour certains peintres et écrivains se nourrissent de ces nouveaux savoirs pour renouveler leurs pratiques. Mais quand la physiologie prend l’art pour objet, qu’elle analyse les œuvres, leur création et leur réception, l’art peut être loué, ou à l’inverse condamné, et les figures de l’artiste et du médecin tendent à se confondre, ou à s’opposer. Notre travail porte sur ce qui rend possible cette alliance et ces conflits. Nous interrogeons pour cela l’idée de visibilité commune à l’art et à la clinique, le concept de pathologie, et le problème de la norme. Il apparaît alors que la figure de l’artiste anormal, « malade », est un héritage de la mélancolie traditionnelle : sa valeur, qu’elle soit positive ou négative, se comprend toujours dans un contexte spécifique et varie en fonction d’une série de déplacements. Par l’analyse des discours et de quelques œuvres représentatives, nous entendons alors non seulement rendre compte de la physiologie de l’art en France à cette époque, dans ses différentes versions, mais encore montrer qu’elle est un prisme privilégié pour comprendre certaines œuvresIn the second half of 19th century, specific bonds are forged between art and medicine: the modern medicine turns towards artworks and discovers there a clinic. In return, some painters and writers feed themselves on new knowledges to revitalize their practices. But as physiology takes art as its object, analyzes artworks, creation and reception, art can be praised, or conversely condemned. Thus, the figures of the artist and of the physician tend to join or to oppose themselves. Our work deals with what make this union and these conflicts possible. We address the idea of visibility, common to art and clinic, the concept of pathology, and the problem of norm. Thus, it appears that the figure of the abnormal artist, the “sick artist’’, is a legacy of the traditional melancholy: its value, positive or negative, is always understood in a specific context and changes according to a set of transfers. As we analyse discourses and some representative artworks, we intend not only to give an account of physiology of art as it appears in France at this time, but also to show that it is a privileged prism to understand a certain kind of artwork
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Rosé, Viviane. "Temps, affect, sensation : de Cézanne à Matisse". Toulouse 2, 2000. http://www.theses.fr/2000TOU20106.
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L'attention portée aux dits, écrits et oeuvres de Monet, Cézanne, Van Gogh, Matisse montre que lorsque le sensible devient le problème même de la peinture, apparaissent conjointement une poiétique des sensations et une composition spécifique modifiant la compréhension du sentir et celle du re-sentir artistique. Il faut donc fonder théoriquement mais aussi affiner au contact de chaque oeuvre la thèse selon laquelle l'organisation de l'affectivité s'ancre dans le chiasme de la temporalité et de la corporéité et produit une contexture. Une explication préalable de l'affectivité comme dimension de l'existence analyse ses modalités (sensation, sentiment, motif, humeur, directions de sens, tonalité affective générale) et dégage l'idée d'un champ affectif dynamique. Dès lors est élucidé comment l'art en tant qu'il dévoile et fait fonctionner l'organisation de l'affectivité en réalise la transformation par création de sensations, affects, percepts, trans-sensibilité au sein d'une contexture comme agencement toujours en acte des éléments-événements (temporalisation, spatialisation, coloration, lumination, formation de formes, de trajets de lignes, de vrillements et matérialités de touches, de signes expulsant des choses). Des monographies distinctes mettent en valeur la chromogenèse, l'instantanéité et l'extension de l'univers chez Monet, le passage du chaos à l'organisation des sensations colorantes menant à la logique du pli de l'expulsion de la lumination chez Cézanne, l'intensité et l'extase chez Van Gogh, la sur-face chez Matisse. A chaque fois la double compréhension de la logique ou culture des sensations comme fondement et de la temporalité de l'organisation de la contexture avec ses schèmes spécifiques nécessite une approche et un vocabulaire appropriés car l'art en inventant la corporéité transforme l'ensemble de notre façon d'exister dans le mondeThe study of the words, writings and works of Monet, Cezanne, Van Gogh and Matisse shows that when the tangible world becomes the main concern of painting, there appears conjointly a poetry of sensations and a specific composition that modifies the understanding of artistic feeling. We must thus establish theoretically but refined in contact with the artists'works, the thesis that this organization of affectivity is anchored in the khiasma of temporality and corporality, and that it produces a contexture. By modalities (sensation, feeling, motive, mood, direction of senses, general affective tone) and reveal the idea of a dynamic affective field. We can thus elucidate how art in so far as it unveils and uses the organization of affectivity then transforms it by creating sensations, affects, percepts and trans-sensitivity in a contexture of ever-moving arrangement of elements and events (temporalization, spatialization, coloration, light, structuration of shpaes, direction of lines, movement and materiality of touch which cause things to emerge). Monographs demonstrate the genesis through colour, the instantaneousness and the extension of the universe in Monet's work, the progression from chaos towards organization of colour and sensation leading to the logic of expulsion and light in Cezanne's work, the intensity and ecstasy of Van Gogh, the "sur-face" of Matisse. In each case the simultaneous comprehension of the basis of logic or culture of sensation and the temporality of the organization of the context with its specific planning and construction necessitates an appropriate approach and vocabulary because art, by inventing new modes of apprehending bodily and corporal reality, transforms the way that we exist in the world
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Prieto, Graciela. "Ecritures du sinthome : contribution à la construction d'une clinique borroméenne". Paris 7, 2011. http://www.theses.fr/2011PA070127.
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Le Séminaire L'envers de la psychanalyse marque un changement dans Paxiomatique de l'élaboration de Lacan qui passe de Taxe du désir à celui des jouissances. Jouissances multiples qui ne se laissent pas réduire à un couple d'opposés ; hétérogènes, elles ne s'excluent pas pour autant. La structure de la jouissance n'admet donc pas les principes de non-contradiction et de tiers exclu et implique une logique ternaire. Cette nécessité logique conduit Lacan à penser la structure selon une topologie borroméenne. La structure résulte de la prise du corps vivant dans le Symbolique, autrement dit de la façon dont se nouent Réel, Symbolique et Imaginaire. Pour qu'il y ait nœud, il faut que ces trois registres soient troués, la topologie n'étant jamais qu'un mode d'organisation du trou. Trou mis en jeu dans lalangue constituée des bouts de Réel transmis par des fragments déchiquetés d'écriture qui déterminent ce qu'il en est du savoir inconscient. Réel que Lacan cherche à attraper par le recours à l'écriture topologique, écriture autre qui ne dépendrait pas de la précipitation du signifiant. Selon Lacan cette écriture ne se produit pas sans des ratés. Pour que quelque chose puisse être articulé, la construction d'un quatrième terme, le Sinthome en tant qu'il est une fonction de nomination, est nécessaire. L'écriture de ce terme sous sa forme ancienne lui permet de multiplier les résonances. Toute création ou invention étant de l'ordre du Sinthome, c'est à travers l'étude de son rôle dans l'œuvre de trois artistes plasticiens : Van Gogh, Schwitters et Wolman, que cette recherche pose la question des conditions nécessaires à sa construction (Van Gogh), sa fonction dans la psychose (Schwitters) et celle distincte qu'il occupe dans la névrose (Wolman)The Seminar "The Other Side of Psychoanalysis" marks a change in Lacan's development, shifting the emphasis from the axis of desire to the axis of jouissance. Jouissances are multiple and cannot be reduced to a pair of opposites; although heterogeneous, they are not mutually exclusive. The structure of jouissance is therefore not subject to thé principles of non-contradiction and the excluded third and instead implies a ternary logic. This logical necessity leads Lacan to rethink structure in terms of the Borromean topology. This structure depends on the fact that the living body is immersed in the Symbolic, in other words on the manner in which the Real, the Symbolic and the Imaginary are knotted together. In order for there to be a knot, the three orders have to be hollowed, as topology is nothing but a mode of organization of the hole. The hole is also at stake in lalangue, the latter being made of pieces of the Real, which are transmitted by the jagged fragments of writing and determinative of unconscious knowledge (savoir). It is this Real that Lacan is trying to capture by using topology as a type of writing independent of the hastiness of the signifier. According to Lacan, such writing does not occur without failure. This is so because in order for something to be articulated, a fourth term, the Sinthome, as a naming fonction, must be constructed. The archaic spelling of this term multiplies its echoes. Given that all creation and invention belongs to the realm of the Sinthome, this research raises its questions through the study of the sinthome's role in the work of three artists, Van Gogh, Schwitters and Wolman: the question of the necessary conditions for its construction (Van Gogh), its fonction in psychosis (Schwitters) and the distinct fonction it holds in neurosis (Wolman)
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Marno, Anne [Verfasser], Elke [Gutachter] Kalbe y Daniel [Gutachter] Schäfer. "Psychologische Prozesse in den Briefen Vincent van Goghs Lebensphasenbezogene Inhaltsanalyse / Anne Marno ; Gutachter: Elke Kalbe, Daniel Schäfer". Köln : Deutsche Zentralbibliothek für Medizin, 2021. http://d-nb.info/1240617283/34.
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Abe, Asuka. "Inshô-ha : diffusion et réception de l'école française dite "impressionniste" au Japon entre 1945 et 1985". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010688/document.
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Les Japonais semblent avoir une prédilection pour la peinture impressionniste. Des expositions y sont consacrées chaque année et une foule anonyme d'amateurs s'y précipitent. Pour la réception des œuvres d'art dans la société, il est nécessaire non seulement que la notion d'art soit partagée, mais aussi les facteurs qui permettent son fonctionnement- les musées, les expositions, les spectateurs et les collectionneurs. Comment ce pays, le Japon, situé culturellement et géographiquement loin de l'Europe, s'est-il imprégné de cette notion étrangère à sa culture et devenir l'un des premiers consommateurs de peinture impressionniste? Cette thèse a pour objectif d'étudier la réception et la diffusion de la peinture impressionniste au Japon entre 1945 et 1985. Dans la première partie, nous nous intéresserons aux différentes parties prenantes du système de l'art au Japon, acteurs et vecteurs de la réception et la diffusion des peintures impressionnistes: les grands quotidiens, les grands magasins, les collections, l'enseignement de l'art, les reproductions. Les grands quotidiens jouèrent un rôle important en tant qu'organisateurs d'expositions et les grands magasins, en tant qu'importants lieux d'exposition. Dans la deuxième partie, nous nous focaliserons sur quatre peintres - Monet, Renoir, Cézanne et Van Gogh - que les Japonais englobent dans le mouvement impressionniste (lnshô-ha, ayant acquis une popularité particulièrement importante, et dont la réception et la diffusion se sont produites de manières différentes. En se concentrant sur la peinture impressionniste, notre étude décrit également la vulgarisation de la notion d'art au JaponThe Japanese seem to have a predilection for the impressionist paintings. Exhibitions gathering their paintings are organized every year and crowds of fans visit them. The reception of works of art in a society depends not only on a shared concept of Art, but also on the factors allowing the operation of Art - the museums, exhibitions, viewers and collectors. How did this country, culturally and geographically located so far from Europe, absorb this concept strange 10 their culture and become one of the most important consumers of Impressionist painting? This thesis aims to study the reception and the dissemination of Impressionist painting in Japan between 1945 and 1985. In the first part, I focus on the different stakeholders of the Art system in Japan, actors and vectors of the reception and dissemination of Impressionist paintings: major newspapers, department stores, art collections, art education, reproductions. Major newspapers played an important role as organizers of exhibitions and department stores, as important venues. In the second part, I study the reception of four pa inters - Monet, Renoir, Cezanne and Van Gogh - which the Japanese consider as Impressionists (lnshô-ha), who have gained a particularly significant popularity and whose reception and dissemination occurred in different ways. Focusing on Impressionist painting, our study also describes the expansion of the concept of Art in Japan
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Heiling, Hans-Christian [Verfasser], Herbert [Akademischer Betreuer] Fitzek y Wilhelm [Akademischer Betreuer] Salber. "Abgang. Psychologisches Bilderleben - eine wirkungspsychologische Untersuchung zu Vincent van Goghs "Schuhe" / Hans-Christian Heiling. Gutachter: Herbert Fitzek ; Wilhelm Salber". Köln : Universitäts- und Stadtbibliothek Köln, 2012. http://d-nb.info/1038225035/34.
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Heiling, Hans-Christian Verfasser], Herbert [Akademischer Betreuer] [Fitzek y Wilhelm [Akademischer Betreuer] Salber. "Abgang. Psychologisches Bilderleben - eine wirkungspsychologische Untersuchung zu Vincent van Goghs "Schuhe" / Hans-Christian Heiling. Gutachter: Herbert Fitzek ; Wilhelm Salber". Köln : Universitäts- und Stadtbibliothek Köln, 2012. http://nbn-resolving.de/urn:nbn:de:hbz:38-46140.
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"Representació cinematogràfica del Gest de l'Artista. Mirades a Vincent Van Gogh". Universitat Pompeu Fabra, 2003. http://www.tesisenxarxa.net/TDX-0715110-093231/.
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"Stylometry analysis of paintings between Vincent van Gogh and his contemporaries". 2014. http://repository.lib.cuhk.edu.hk/en/item/cuhk-1292007.
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Liu, Haixia.Thesis Ph.D. Chinese University of Hong Kong 2014.
Includes bibliographical references (leaves 61-69).
Abstracts also in Chinese.
Title from PDF title page (viewed on 14, December, 2016).
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Wan-Ching, Chen y 陳婉青. "The Plowshare of Humanity: The Labourer’s Image of Vincent van Gogh". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/aux32n.
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碩士國立高雄師範大學
美術學系
103
This study discusses the humanitarian side of Vincent van Gogh (Vincent) through his work ‘Labourers’, which he created in Netherlands. Using Documentary Analysis and Sociology of Arts, the study analyzes Vincent’s philosophy of art of his early creation period. Differing from the previous researches, this study discusses from three angles to investigate Vincent’s philosophy of art: first is Vincent’s background, including his religious background and the experience of being a merchant in U.K., which had built Vincent’s characters as a humanist; second is Vincent’s humanitarianism taste in both literacy and arts, which also had inspired his the creation of ‘Labourers’; and last but not least, the prevalent creation technique during 19th century such as lithography art had also impacted Vincent’s work. That being said, this study also seeks to understand how the different painting tools and materials impact artists’ work. Through such efforts, the study compares ‘Labourers’ with other work of the similar topic, existing prior to and/or during his time, in order to understand how Vincent’s techniques contributed to the art history. In the end, using Style Analysis, Iconology and the Psychology of Visual Art, the study analyzes Vincent’s work in Netherlands to provide a more subjective review of his work. The painting techniques of ‘Labourers’ differ from other 16th century Netherland’s ironic genre paintings, that of Millet’s, and that of Courbet’s. The philosophy of art and the painting techniques derived from ‘Labourers’ open a new chapter in the Western art history which sets itself apart from the any other paintings prior to Vincent’s time.
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Boyer, Melissa Louise. "Mental illness and creativity in the works of Vincent van Gogh and Virginia Woolf /". 2004. http://emp3.hbg.psu.edu/theses/available/etd-04052004-165254/.
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Serrão, Lyudmila Guerreiro. "Museus e exposições de Van Gogh nos Países Baixos : análise aos programas museológicos e projetos museográficos". Master's thesis, 2022. http://hdl.handle.net/10451/51354.
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This dissertation, designed to obtain a Master's degree in Museology, conducts a theoretical survey about museology in the Netherlands, with the goal of understanding the strategies that this country has developed in relation to the various successful museums linked to Van Gogh. The museum language and its main museographic communication techniques in an exhibition room was thoroughly understood. A simple diagram was drawn up with the necessary elements to read these museums. For the analysis, the Dutch painter Van Gogh (1853-1890) was selected. A deep biographical survey of his life was made, referring to the period in which he lived in Holland (1853-1885). In this way, his journey in his homeland was mapped. Due to the high popularity of the painter, several museums, which were established in places where he resided, were created throughout the Netherlands. For this dissertation, eight museums in the Netherlands and a traveling exhibition dedicated to the life and work of Van Gogh were selected.Four of these museums have authentic works by Van Gogh in their collection. Thus, an analysis of the museological program and museographic project of the following institutions was made: Van Gogh Huis Museum in Zundert, Van Gogh Kerk Museum in Etten-Leur, Vincentre Museum in Nuenen, Salon Nune Ville Museum in Nuenen, Het Noordbrabants Museum in Den Bocsh, Museum Rijksmuseum Kröller-Müller in Otterlo, Museum Rijksmuseum in Amsterdam and Van Gogh Museum in Amsterdam. The museographic project of the Experience Meet Vincent van Gogh Traveling Exhibition was also analyzed. This extensive analysis seeks to answer the question: what kind of museology is currently practiced in the Netherlands? and also the question: Which museological and museographic techniques are most effective in the practice and presentation of the work and life of this post-impressionist painter?
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Chen, Hasio-Feng y 陳小芃. "The Artistic Images in Advertisement, from the perspective of Consumer Culture： The Case of Spirit Section of Vincent van Gogh for ABN AMRO Bank". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/79324553031114306168.
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碩士臺北市立教育大學
視覺藝術研究所
94
In the post modern consumer culture, the commodity value and identity created by advertisement symbols have overtaken the use value of itself. This essay took the TV commercial ABN AMRO Bank’s advertisement of the Spirit of Vincent van Gogh Volume as the object of study, analyzing the process how advertisement text combines with designated artist’s image and creation style, which makes the art symbolized, and studying the implicative significance and potential problems behind the artistic images of advertisement presentation. This essay adopted the viewpoint of narrative analysis and semeiology to study the association between advertisement and art, through the following four steps:1.Describing the content and form of advertisement text;2.Analyzing advertisement images according to the conceptions of semeiology, such as signifier, signified, paradigms, syntagm and so on.;3.Explaining the symbol meaning of artistic images; and 4.Estimate the possible influence of advertisement duplication of artistic images. It is found after research that when transnational enterprises try to enter the consumer market, none of they will not think thoroughly to find a point which can increase customers’ acceptation for their commodity. Under the globalized commercial operation system and applying the artistic images in the advertisement, ABN AMRO Bank combines financial commodity with living taste, and shapes a transnational brand that has cultural value, to satisfy customer’s imagination, pleasure and identity. The advertisement, by technology and editing technique, diverted and compiled the uniqueness of Vincent van Gogh’s works, including his style of drawing or writing, color element and image of the; by taking advantage of the mythology of Vincent van Gogh, condensed the vast middle class to be a integrate group and according to main coax of Vincent van Gogh image, the middle class and artistic images, revealed an important metaphor that those do things with endeavor are worth getting more applause; thereby, guided the consumer masses to establish self-worth and social identity. Finally, with the charge and impact of duplication technology in the technological ages, the boundary line between exquisite art and common life is disappearing. When the background, content and the creator’s image of an artwork becomes advertisement symbols by the digestion and transformation of advertisement text, the artwork will re-present different vitality with a new appearance, which makes art integrate into the consumer society and make the consumer society integrate into art as well.
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Masi, Robin. "The restoration of the beautiful soul construct in the lives and works of six visual artists: Wassily Kandinsky, Käthe Kollwitz, Jacob Lawrence, Mark Rothko, Vincent van Gogh, and Remedios Varo". Thesis, 2018. https://hdl.handle.net/2144/30708.
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The Nobel Prize, arguably the most prestigious acknowledgement of ethical achievement, was established by Alfred Nobel to honor those who have performed “to the greatest benefit of mankind” (Nobel, 2018). Despite the many categories for which Nobel laureates are recognized, there is no category that specifically recognizes the visual artist. In addition, many other direct and indirect measures of individual ethical achievement, such as Gallup’s annual most admired man and woman poll, rarely mention artists. This lack raises an important question: Do contributions to the visual arts fall outside the realm of ethics, thus rendering visual artists ineligible to stand as models of the ethical life?
This dissertation aims to cultivate an understanding of the visual artist as a type of ethical exemplar known as the “restored beautiful soul,” a theoretical construct proposed here for the first time in the Masi Model of the Artist as Restored Beautiful Soul (MMARBS). This construct combines the kalos kagathos ideal of the “beautiful soul,” which originated in ancient Greece as the fusion of the beautiful and the good and was revived by Enlightenment philosophers, with a restorative additional element of the communal. Using this new theoretical construct, this investigation analyzes the lives, practices, and influences of six prominent late-nineteenth- and twentieth-century visual artists: Wassily Kandinsky, Käthe Kollwitz, Jacob Lawrence, Mark Rothko, Vincent van Gogh, and Remedios Varo.
This investigation is not simply a theoretical foray into the construct of the ethical artist, however; it is also a practical contribution to the field of arts education. Currently, arts schools and art programs at institutions of higher learning offer little guidance to help aspiring young artists ground their lives and work in a comprehensive system of personal and professional ethics. To remedy this deficiency, arts educators can incorporate the case examples from this investigation into their own curricula, and, more important still, apply the MMARBS construct to other historical and contemporary artists. Thus, using this new construct, arts educators can develop one-of-a-kind curricula tailored to the needs of specific students, providing those students with role models to demonstrate what it means to maintain a sense of integrity with respect to one’s work, one’s viewers, and one’s community over a career spanning a lifetime.
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Zachariáš, Jan. "Boty v díle Vincenta van Gogha Nové interpretace od Derridy k dnešku". Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-340332.
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Resumé Presented thesis is dedicated to specific problems of van Gogh's art. In the first chapters I investigate Heidegger's philosophy of art and his philosophical interpretation of van Gogh's painting Old shoes. Second chapter is dedicated to the critical reaction of distinguished art-historian Meyer Schapiro. Schapiro wrote two short texts, where he attacked Heidegger's way of interpretation of the painting. But Schapiro did not take into account Heidegger's philosophical arguments and completely misunderstood Heidegger's essay. Third chapter is dedicated to the "conclusion" of the conflict of interpretations. In late seventies French philosopher Jacques Derrida published an article (Restitutions), which deals with previous contributions. Derrida seriously attempted to investigate philosophical principals of Heidegger and Schapiro and he suggested, that both authors have the same tendency to appropriate the shoes to some person, in Heidegger's case to peasant woman in that of Schapiro to van Gogh. Derrida tried to leave the "theory of appropriation" by saying that the shoes belong to the painting. I also added two appendices dedicated to specific problems of van Gogh's painting. In first appendix I investigated the role of synthesis of painting and drawing in van Gogh. In second appendix I trace the...
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Leal, Jorge 1975. "Da presença do desenho na pintura : a linha transformadora". Doctoral thesis, 2017. http://hdl.handle.net/10451/34114.
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Drawing is understood as a means of foundational expression of artistic activity and as the most effective tool to access the representation. The paradoxical situation of drawing and painting remaining as taxonomically diferent activities, since there are approximations by practice while subsisting as actions described differently, requires a theoretical review from within the artistic practice in the context of studio practice. The gap between drawing and painting, stimulates demand for a change of procedures within the art project. In the territory of figuration, universe in which the artistic project is developed, it is necessary to find an element that allows this approach. The connection between drawing and painting is questioned based on three main ideas: the relationship between drawing typologies and painting, drawing protagonism within the hierarchical work established by historical practices of painting, and visual participation of drawing in the finished painting. Drawing is considered as belonging to a tradition which becomes active through its reassessment by working in the studio with the potential to reconfigure the territory of painting. In this case the support, as the first distinctive feature of the two practices, is thought of as a continuous territory through the action that is developed on it. In this sense, the modest character of the paper works as a model for the work on canvas that becomes materially rarefied. The line is understood as an element that inhabits the drawing and painting using different graphic expressions. It is understood that through the intervention of brush you can find a common configuration for both practices. The characteristics of the material and support are no longer relevant in the classification of a work as drawing or as painting,
this function being assigned to the graphic element that builds the representation, in this case the line drawn with a brush. By using the line as painting’s building element it becomes potentially a hybrid entity, which is necessary to understand as an extended field of drawing practice
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Serafim, Kalinka. "Autorretrato e autorrepresentação: variações sobre um tema". Master's thesis, 2020. http://hdl.handle.net/10451/41596.
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The present work “Self-portrait and self-representation: variations on a theme” addresses the issue of self-representation in art through the creation of a series of drawn self-portraits. The project has an investigative character, and the drawings were developed in series from the exploration of varied techniques and materials, sometimes traditional, sometimes less conventional. The creative process focused on making selfportraits using a mirror, an indispensable item that allows us to observe our face directly. The drawings created from the reflection’s observation were transformed throughout the development process of the series, enabling the discovery of new representational forms that deviate from the mimetic reproduction of the mirror image. The way the face was represented went through major changes throughout the development of the self-portraits. The use of chance in the creation of accidental stains contributed to a more freely and subjective graphic registration, avoiding the more objective figurative representation of the face. From experiences with various tools and techniques, it was possible to find new answers that increased the exploration of structural elements of the drawing’s graphic language with stains, strokes, textures or color. The project presents a theoretical research related to the theme in question, and a practical part that reports the experiments performed during the development of the work, as well as the results obtained from the artistic research. The first two parts focus on the study of the emergence of self-portrait in art history; the concept of self-representation, especially in modern and contemporary art; in the theoretical study concerning the creation of serial drawings; and in approaching the issue of variation of the same theme in artistic practice. The third and last part focuses on the practical work, ie the process of creating the self-portraits.