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Teses / dissertações sobre o tema "Sculpture"

Autor: Grafiati
Publicado: 4 de junho de 2021
Última modificação: 25 de julho de 2025

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1

Lindberg, Siri. "Embodied sequences : Sculptural architecture, architecture for sculpture." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223745.

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For the last decade many spaces of museums have meet new demands; the spaces are getting less specific to the art it is displaying as the need of flexibility, total control or alteration of light e.g. has increased due to various reasons. For many art forms those conditions can be beneficial. But how one perceive the three-dimensional art of sculpture is something different, than two dimen-sional art such as painting, and there for the demands on the architectural spaces and its qualities are different. A museum exclusively for the art of sculpture does not exist in Stockholm, without it being
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2

Dubrion, Véronique. "Sculptures membranes : de la sculpture comme objet de désir." Paris 1, 2008. http://www.theses.fr/2008PA010705.

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Cette recherche allie pratique artistique et réflexion théorique. Elle concerne un ensemble de sculptures en matériaux souples assembles par couture, s'insérant dans une perspective ouverte par les avatars de la sculpture contemporaine. La diversité des suspensions pour les accrochages, souvent en extérieur, favorise le déploiement des sculptures durant un court instant. Le recours au médium photographique intervient en contrepoint de cette recherche, comme continuum, capture, suspension de la furtivité des formes. Les matériaux, le rituel de création et de mise en scène photographique, la sus
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3

Perotto, Émilie. "La sculpture contemporaine envisagée comme une situation : modes de production, usages et objets." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3052.

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Ce travail de recherche doctorale tend à définir précisément ce que j’appelle une situation sculpturale, en envisageant le médium de la sculpture, historiquement immobile et pérenne, comme le médium de la rencontre tributaire de temporalités diverses. Pour ce faire, ma pratique plastique a été mon terrain premier d’investigation, au sein duquel j’ai pu tester un certain nombre d’hypothèses, dont certaines se sont concrétisées dans mes sculptures les plus récentes, citées dans ce texte. Aussi, une attention particulière à la sculpture contemporaine m’a permis d’ouvrir plus larg
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4

Kueny, Claire. "Sculptures d’ombres : l’ombre projetée dans la sculpture à partir des années 1980." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080064.

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Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’ombre projetée comme d’un matériau essentiel de l’œuvre, par la mise en place de dispositifs de projection. Ces derniers se composent au minimum d’un projecteur lumineux et d’un écran sur lequel apparaissent les ombres, fixes ou en mouvement, créées par l’interception de la lumière par un objet central. On observe à partir des années 1980, une multiplication de l’usage des ombres projetées dans la sculpture, qui va de pair avec un usage renouvelé de celles-ci pour leur qualité d’images. Inspirées
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5

Kueny, Claire. "Sculptures d’ombres : l’ombre projetée dans la sculpture à partir des années 1980." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080064.

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Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’ombre projetée comme d’un matériau essentiel de l’œuvre, par la mise en place de dispositifs de projection. Ces derniers se composent au minimum d’un projecteur lumineux et d’un écran sur lequel apparaissent les ombres, fixes ou en mouvement, créées par l’interception de la lumière par un objet central. On observe à partir des années 1980, une multiplication de l’usage des ombres projetées dans la sculpture, qui va de pair avec un usage renouvelé de celles-ci pour leur qualité d’images. Inspirées
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6

Charvet, Célia. "Sculpter l'habitat : les dimensions de l'habiter dans la sculpture contemporaine." Besançon, 2010. http://www.theses.fr/2010BESA1010.

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Penser l’habiter du point de vue de l’art contemporain – et plus précisément de la sculpture contemporaine – c’est engager la réflexion dans une analyse des formes tridimensionnelles. C’est donc envisager l’habiter dans ses dimensions visibles et tangibles, dans une concrétisation de ses implications et dans une cristallisation des notions de corps, d’espace et de temps. Donner forme(s) à l’habiter, ce n’est pas seulement mettre au jour les phénomènes de l’habiter, c’est également en fabriquer les dimensions spatio-temporelles à la mesure de l’existence humaine. C’est structurer, orienter, qua
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7

Ferley, Eric. "Sculpture virtuelle." Phd thesis, Grenoble INPG, 2002. http://tel.archives-ouvertes.fr/tel-00004393.

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Cette thèse concerne la construction de formes tridimensionnelles. Nous utilisons une métaphore de sculpture virtuelle, c'est à dire une manipulation directe de la surface, sans structure de contrôle et où la représentation utilisée pour la surface demeure invisible. Notre travail est basé sur une représentation volumique. La surface modelée est représentée comme l'iso-surface d'un champ potentiel scalaire tridimensionnel échantillonné, qui permet de gérer de manière transparente les connexions et déconnexions. Un premier prototype, utilisant un échantillonnage régulier, nous a permis de valid
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8

Moulton, Marc. "Making sculpture." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303236154.

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9

Teneul, Thierry. "La sculpture intouchable : méditation sur la sculpture "ennemie" du toucher !" Paris 1, 1995. http://www.theses.fr/1995PA010606.

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Le but de cette these est de reflechir au statut du toucher dans ma pratique de la sculpture. Dans un premier temps, j'ai repere en quelles circonstances il se manifestait dans ma production et dans celle de quelques sculpteurs. J'ai egalement analyse le fonctionnement physiologique du toucher et propose d'echapper a son pouvoir par le regard. La nature et le vegetal etant a l'origine de mes sculptures, celles-ci ne sont plus destinees a etre vues pour elles-memes mais a faire voir ce qui en est la cause. Apres des recherches sur l'interdit virtuel du toucher, j'ai ensuite explore les ressourc
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10

Hannold, Allan. "Sculpture and environment." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/724982.

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The purpose of this creative project was to further the development of the artist's personal style. Also to produce an exhibition of sculpture that relate to each other through common themes and techniques. The exhibition would become a unique environment for the viewer.The artist used steel as a medium in the creation of his sculptures. Various types of steel where cut, forged, welded, and fabricated in order to produce and extend the vocabulary of the sculptures. Steel was used experimentally with line, texture, and bright color. The exhibited works were successful because they concentrated
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11

BRITTO, ANA BEATRIZ RODRIGUES DE. "RICHARD SERRA: SCULPTURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35327@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES<br>Cet article a l intention d analyser l ouevre du sculpteur nord-américain Richard Serra à partir de sa formation aux États-Unis et du contexte culturel de la deuxième moitié du XXème siècle, lorsqu il il a commencé sa carrière à New York. Cette étude propose également de mettre en valeur l importance de la materialité dans les oue
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12

Reas, Casey (Casey Edwin) 1972. "Behavioral kinetic sculpture." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62356.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.<br>"September 2001."<br>Includes bibliographical references (p. 129-132).<br>As we enter the 21st century our culture has been significantly changed by the arrival of the internet and the proliferation personal computing and digital communications. As the decades progress, we will find ourselves interacting with machines more and more frequently, but what will be the qualities of these interactions? Through integrating information processing technologies into kin
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13

Suits, Julia Halyburton. "Experiments in sculpture." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303326764.

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14

Sévigny, Michel. "Sculpture et bruit /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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15

Liao, Jui-chang. "Sculpture in space /." Online version of thesis, 1992. http://hdl.handle.net/1850/11680.

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16

Zvénigorodsky, Pierre. "Un sculpteur dans l'équipe : réflexion sur une pratique de la sculpture en milieu urbain." Paris 1, 1998. http://www.theses.fr/1998PA010604.

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Trente ans de pratique sculpturale en milieu urbain ne permettent pas de démontrer la nécessité de l'art urbain, ni de cerner des choix esthétiques. Ce travail de réflexion propose de faire prévaloir un protocole pour mettre la ville en mouvement. Le projet urbain induit le diagnostic et la conduite des opérations par des équipes pluridisciplinaires. Un art urbain se fonde sur la synergie d'arts fondamentaux. Sans sculpture il n'est pas d'art urbain. Mais, l'implication dans le projet impose à la sculpture de se saisir de la dimension de l'utile. Comment garder l'authenticité de chaque art tou
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17

Bailey, Rowan. "The philosophy of sculpture : the sculpture of philosophy : casting bodies of thought." Thesis, University of Leeds, 2009. http://eprints.hud.ac.uk/16898/.

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This thesis explores both the conceptual register and tropic play of sculpture as a fine art in some of the key writings of Plato, Immanuel Kant, Johann Gottfried Herder, and Georg Wilhelm Friedrich Hegel. It serves to show how sculpture is both shaped by and reshapes in turn philosophy's explicit register of sculpture as an art form. The central argument within this thesis is that sculpture turns its back on philosophy as soon as philosophy casts sculpture out of its mould. Registering sculpture as a fine art within philosophy reveals that whilst specific examples of sculpture may appear to c
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18

Grande, John K. "Armand Vaillancourt's social sculpture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0003/MQ40227.pdf.

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19

Tokar, Cynthia. "Garments as living sculpture /." Online version of thesis, 1990. http://hdl.handle.net/1850/11254.

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20

Powell, John William. "Specific light in sculpture." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/76873.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.<br>Vita.<br>Includes bibliographical references.<br>Specific light is defined as light from artificial or altered natural sources. The use and manipulation of light in three dimensional sculptural work is discussed in an historic and contemporary context. The author's work with metal arc light sources is presented and documented with developmental drawings and photographs. The use of light sources in space to define volume and mass is seen as the natural development of artificial light as a viable material i
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21

Yong-Joon, Kwon. "Apollinaire et la sculpture." Paris 3, 1996. http://www.theses.fr/1996PA030132.

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Notre etude a pour objet d'elucider la position d'apollinaire comme critique de sculpture, en ressentant un fort besoin d'eclairer ses idees sur cet art pratiquement jamais etudiees, a la difference de sa vision sur la peinture discutee sous divers angles. Nous avons developpe la perspective eclectique du poete sur la sculpture, qui ne se limita jamais a la categorie contemporaine, d'avant-garde, mais s'etendit aux tendances apparemment perimees, soit conventionnelles soit academiques, c'est-a-dire aux "bonnes traditions". Il prend au serieux l'originalite personnelle de chaque artiste, due a
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22

Basnett, Brian David. "Brian Basnett's sculpture thesis." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1413285691.

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23

Smal, Eugene. "Automated brick sculpture construction." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019/1621.

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24

Zaganelli, Gemma. "Duchamp-Villon e il cubismo." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080002.

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L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes ty
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25

Leka, Evridiki-Evdokia. "L' entretien et la restauration des sculptures en Grèce ancienne : le cas de la sculpture archaïque." Paris 1, 2008. http://www.theses.fr/2008PA010689.

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L' étude consiste à systématiser et à compléter nos connaissances sur les mesures de protection, les opérations d' entretien et les techniques de réparation appliquées aux sculptures archaïques, dans le but de comprendre les motifs qui poussaient les Anciens a procéder à des interventions destinées a la sauvegarde de ces oeuvres. La recherche porte sur deux types de documents, les sources textuelles et les oeuvres existantes, sur lesquels reposent les deux parties de l' exposé. Les sources textuelles contribuent à l'exploration a) des mesures de protection préventive prises par les Anciens pou
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26

Kirton, Joanne. "Sculpture and place : a biographical approach to recontextualising Cheshire's early medieval stone sculpture." Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620393.

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Researching early medieval stone sculpture has long been enabled and constrained by approaches devised and subsequently honed over the last century focusing on form and ornamentation. These approaches largely prioritise the physical appearance of sculptural fragments, often distancing them from the physical and cognitive contexts in which they operated from their creation to the present. This thesis brings together popular strands of research from other areas of archaeology - landscape, biography, materiality and monumentality - to explore how early medieval stone sculpture operated in place a
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27

Wright, Jeanne. "Colour and sculpture : an investigation into the use of two dimensional media in sculpture." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004783.

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From Introduction: Creative images which are normally called 'art' can be distinguished as either 'plastic' or visual. Both these forms throughout the history of art have relied to a greater or lesser degree on the use of colour. It is my intention to investigate specifically the changing role which colour has played in sculpture - the 'plastic' media of the visual arts and to chart the technical and aesthetic reasons for the use of colour. This investigation will encompass the historical perspective, the material qualities, aesthetic considerations, transitional codes and methods of approach
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28

Cravenho, David M. "Conscious/Unconscious /." Online version of thesis, 1989. http://hdl.handle.net/1850/11514.

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29

Bosley, Brianna Laura, and Brianna Laura Bosley. "Sculpture, environments, and conservation treatments." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626730.

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The overall question that this thesis attempts to answer is: how do the surroundings of a sculpture and its setting effect a sculpture’s conservation efforts. In this thesis four case studies of works of sculpture of various materials, displayed in different settings in the Tucson area, each experiencing varying conditions depending on their environment, will be discussed. Their preservation plans and conservation treatments will be outlined and compared, showing the varying conservation/preservation approaches to these sculptures, depending on their material and setting. This will all be rel
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30

Jalil, Abdul Rahim. "Sculpture : exploration with Islamic calligraphy /." Connect to resource, 1990. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1224613475.

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31

O'Brien, Kelly A. "Putting Lipstick on a Sculpture." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/107.

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Putting Lipstick on a Sculpture is a mixed body of sculptural and two-dimensional work investigating our society’s superficial expectations of beauty. The glitzy covers of glitter and spandex are used over more traditional structural materials to confuse the viewer’s expectations, much like labels categorizing usual fine art. The sculptures are on display for the audience’s aesthetic judgments, while paintings blur lines of what is classified as traditional and acceptable for emphasis.
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32

Merkley, John. "Transitions : multi-media abstract sculpture." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1305451.

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The first objective of this creative project was to create seven Non-figurative, abstract, multi-media (wood, metals, clay, concrete, glass) sculptures that attempted to express some of the feelings experienced during transitions in life. The second objective was to explore the continuum of abstract sculptural art: from art being simply aesthetically stimulating compositions to art that emphasizes meaning or purpose first, and being aesthetically pleasing or stimulating second.<br>Department of Art
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33

Calik, Ayse. "Roman Imperial sculpture from Cilicia." Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/roman-imperial-sculpture-from-cilicia(52fdf4d0-393f-42f3-8373-470393fac704).html.

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34

Cooper, Martin I. "Laser cleaning of stone sculpture." Thesis, Loughborough University, 1994. https://dspace.lboro.ac.uk/2134/6841.

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This thesis is concerned with different aspects of laser cleaning of stone sculpture including the interaction of laser radiation with stone, evaluation and monitoring of the cleaning process and the development of a practical cleaning tool. Results show that a Q-switched Nd:YAG laser is the most suitable type of laser for the removal of black encrustations from marble and limestone surfaces. Measurements of the absorptivity of polluted and clean stone surfaces at 1.06 itm show that a typical black crust, resulting from atmospheric pollution, absorbs 2.5-3.5 times as much of the incident radia
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35

Loehr, Alf. "Environmental sculpture in urban landscape." Thesis, Royal College of Art, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294963.

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36

Curtis, Penelope Jane. "E.A. Bourdelle and monumental sculpture." Thesis, Courtauld Institute of Art (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265200.

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Greenwood, Martin. "Victorian ideal sculpture 1830-1880." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289031.

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Elliott, Patrick Daniel. "Sculpture in France 1918-1939." Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390334.

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Piot, Élisabeth. "Légereté-pesanteur : trajectoire de sculpture." Amiens, 2013. http://www.theses.fr/2013AMIE0015.

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C'est par le prisme de ma propre pratique de la sculpture que j'aborde le présent essai. Par le biais de matériaux mous, je positionne ma sculpture dans une perspective d'expérience éprouvée en subissant les mêmes contraintes que mon propre corps, qui lui aussi cherche son équilibre et sa position. Sous l'égide de la dialectique de légèreté et de pesanteur, je réinvestis dans mon discours théorique des gestes et des directions au centre de mon propre travail plastique par le biais de termes et de concepts qui me sont familiers. Ces termes, je les éprouve au travers d'une histoire choisie de la
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40

Keffer, Mark. "Sculpture < painting < boxing." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314217573.

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41

Caudill, Ross Steven. "Ross Caudill MFA Sculpture 2006." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1407.

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This thesis overviews my experience during graduate school making tangible,object oriented sculpture. I have been working formally to compose space in a way that develops a narrative between parts. The work is also a bridge between the fields of painting and sculpture, in terms of drawing with form and both painted and local, material color. My palette has mostly consisted of bronze casting, steel fabrication, fiberglass and epoxy resin, paint, the found object, woodworking, and mold making. This work is also conceptually based in showing the hand worked qualities of the materials, the transfe
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42

Tomović, Miodrag. "Roman sculpture in Upper Moesia /." Beograd : Archeological institute, 1993. http://catalogue.bnf.fr/ark:/12148/cb38945209q.

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43

Lyle, Valarie G. "Figurative sculpture in paper clay." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0601101-132934/unrestricted/LyleV0822a.pdf.

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44

Streeter, Stephanie. "Stray: Paintings, Drawings, and Sculpture." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/18.

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The artist discusses her Bachelor of Fine Arts Exhibition, Stray, held at Slocumb Galleries, East Tennessee State University, from April 4th to April 8th. The show exhibit consists largely of self-portraits derived from the artist’s dreams, in an array of media including mixed media on paper, oil on canvas, and wire frame sculpture, all completed in the Spring of 2011, with the exception of one sculpture. Ideas explored include the influence of dreams, representation of the self, masking, disguising, the loss of home, and the tendency of memory to fade. Influences discussed include the written
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Henley, Marty Clinton. "Figurative Sculpture and Social Commentary." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2215.

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This thesis supports the Master of Arts exhibition entitled "Figurative Sculpture and Social Commentary" at the Slocumb Gallery located on the campus of East Tennessee State University in Johnson City, Tennessee, from April 10 - April 14, 2006. This is an exploration of human form in sculpture and the use of representational human form to make comments about society.
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Zaganelli, Gemma. "Duchamp-Villon e il cubismo." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080002.

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L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes ty
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Allen, Kate. "To investigate and demonstrate through my sculptural practice the relation between 'virtual' and 'real' sculpture." Thesis, University of Wolverhampton, 2001. http://hdl.handle.net/2436/96307.

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Relin, Lois. "La sculpture assemblée en France de 1880-1918 : de la sculpture traditionnelle aux constructions cubistes." Paris 1, 1987. http://www.theses.fr/1987PA010574.

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Relin, Lois. "La Sculpture assemblée en France de 1880-1918 de la sculpture traditionnelle aux constructions cubistes /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376092619.

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Pinkney, Valerie J. "Mark Di Suvero's Sculpture: From the Found-Object Sculpture of the Nineteen Sixties to the Monumental Sculpture of the Nineteen Eighties, A Study in Continuity." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500326/.

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This thesis analyzes technical and stylistic aspects of Mark di Suvero's nineteen sixties found-object works, and his monumental I-beam sculptures of the nineteen seventies and eighties to demonstrate their consistency despite the apparent contrasts in form, materials, and process. Primary data, sculpture of Mark di Suvero. Secondary data obtained from major art periodicals, newspapers, and exhibition catalogs. The artist was interviewed by author at the retrospective exhibition in Nice, France, Septermber, 17, 1991. Examination of primary and secondary data reveals a strong continuity by the
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