Thematische Bibliographien / Groupe Signe (Group of artists)

Auswahl der wissenschaftlichen Literatur zum Thema „Groupe Signe (Group of artists)“

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Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Groupe Signe (Group of artists)"

1

Ekkart, Rudolf E. O. „De Rotterdamse portrettist Jan Daemen Cool (ca. 1589 -1660)“. Oud Holland - Quarterly for Dutch Art History 111, Nr. 4 (1997): 201–20. http://dx.doi.org/10.1163/187501797x00230.

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AbstractUntil now, the Rotterdam portraitist Jan Daemen Cool was known in the literature only as the maker of a group portrait painted in 1653 of the governors and administrator of the Holy Ghost Hospital at Rotterdam, and of a portrait of Piet Hein, which is dated 1629. Closer scrutiny of his activities reveals that the artist, who never signed his work, was Rotterdam's leading portrait painter in the second quarter of the 17th century. Jan Daemen Cool was born in Rotterdam in 1589 or thereabouts. He may have studied with Michiel Jansz. van Mierevelt in Delft, where he married Agniesje Jaspersdr. in 1613 and was admitted to the guild in 1614. He probably returned to Rotterdam in 1614 and spent the rest of his life there. After his first wife's death in 1622 he married again in 1623, this time to Lijsbeth Cornelisdr., the widow of Lowijs Porcellis. Many archive records indicate that Cool was a very prosperous man. After the death of his second wife in 1652. he bought himself a place in the Rotterdam almshouse; he also pledged to paint a group portrait of the governors. He died in 1660. An important starting point in reconstructing the artist's oeuvre is the portrait of the governors of 1653 (cat.no. 28), the authorship of which is substantiated by archive records. However, the portrait of Piet Hein, painted in 1629 (cat.no. I, 1st version), attributed on the basis of the inscription on Willem Hondius' print, is not an authentic Cool but probably an old copy after a portrait which he had painted a few years earlier. A systematic investigation of Rotterdam portraits from the period between 1620 and 1660 has yielded a closely related group of portraits which may be regarded as the work of one man and which include the 1653 governors piece. Combining this information with additional data and further indications has facilitated the reconstruction of Jan Daemen Cool's oeuvre. Pride of place in that oeuvre is occupied by a group of four family portraits painted between 1631 and 1637 and now in the museums at Lille (cat.no. 4), Edinburgh (cat.no. 6), Rotterdam (cat.no. 16) and Brussels (cat.no. 19). Hitherto these portraits have usually been assigned to Jacob Gerritsz. Cuyp. They are all situated in a landscape and represent an important step in the development of this type of family group in Dutch portraiture. A series of portraits of individual sitters painted be-for 1640, including companion pieces, some them identifiable a people who lived in Rotterdam, arc entirely consistent in style and execution with the aforementioned g group portraits. Elements in the portrait of Johan van Yck with his wife and son, painted in 1632 (cat.no. 5), correspond very closely with these works, but there are also discrepancies which suggest cooperation with another painter or later overpaints. A series of individual portraits dating to 1640 - 1654 link the first group of paintings and the late governors piece, the composition of which is quite exceptional in the entire production of such paintings in 17th-century Holland. Here, as in his early family groups, the artist shows himself to be quite an adroit arranger of f gures. Although this painting and two others of 1654 clearly show that he continued to paint after enterning the almshouse, ture is no extant work from the last years of his life. Along the Rotterdam portraits of the rest ched period are a few - likewise unsigned - family groups which are strongly influenced by Cool but are obviously the work of a less proficient hand (figs. 5 and 6). Comparison with a signed portrait of 1649 (fig. 7) enables them to be assigned to the painter Isaack Adamsz. de Colonia (ca. 1611-1663), presumably a pupil of Cool's. Although the work of Jan Daemen Cool bears a resemblance to that of such artists as Michiel van Mierevelt and Jan Anthonisz. van Ravesteyn, his oeuvre has a distinctive character that is most in evidence in his group portraits. There are obvious correspondences with painters such as Jacob Gerritz. Cuyp of Dordrecht, to whom various works by Cool were hitherto attributed, and Willem Willemsz. van Vliet of Delft - artists who likewise developed their own characteristic styles.
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Dondero, Maria Giulia, und Göran Sonesson. „O Groupe μ. Quarenta anos de retórica. Trinta e três anos de semiótica visual.“ Estudos Semióticos 11, Nr. 3 (31.12.2015): 18. http://dx.doi.org/10.11606/issn.1980-4016.esse.2015.111089.

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Uma breve caracterização da semiótica visual do Groupe μ é apresentada juntamente com seus desdobramentos mais marcantes. Em seguida, seis artigos e uma entrevista são comentados, todos integrantes do evento em homenagem ao Groupe “O Groupe μ. Quarenta anos de retórica — Trinta e três anos de semiótica visual”. São eles: “Retórica do ponto de vista do mundo da vida”, de Göran Sonesson; “A semiótica visual entre princípios gerais e especificidades. A partir do Grupo μ”, de Maria Giulia Dondero; “Imagem de. . . Entre indivíduo e categoria, da lógica à retórica”, de Odile Le Guern; “A figura, o fundo, o abismo: Em homenagem ao Groupe μ”, de Anne Beyaert-Geslin; “Groupe μ e ‘o Sistema da Forma Plástica’ — para uma avaliação” e “Cinco Perguntas a Francis Edeline e Jean-Marie Klinkenberg”, ambos de Fred Andersson; “Sobre o Tratado do signo visual: uma observação e duas questões”, de Georges Roque.
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Swedenburg, Ted. „On the Origins of Pop Rai“. Middle East Journal of Culture and Communication 12, Nr. 1 (29.03.2019): 7–34. http://dx.doi.org/10.1163/18739865-01201003.

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Abstract In this paper, I examine the emergence of pop rai in western Algeria during the 1970s and the subsequent transformation of rai into a very different sound, and a national and international phenomenon. The study is based in part on an analysis of previously hard-to-find pop rai recordings now available on the internet. Pop rai’s origins are in the rural music of the male performers of bédoui music and particularly the female cheikhat. After independence, constraints were imposed on female performances, and so, during the 1960s, male singers, most famously Belkacem Bouteldja, began to record a modern version of the cheikhat repertoire. Messaoud Bellemou, a trumpet player from the city of Aïn Témouchent, played a major role in the further development of the music; he created an ensemble that included singers like Boutaïba Sghir, Belkacem Bouteldja, Hamani Hadjoum and Younes Benfissa, that modernized the instrumental backing and overall sound of western Algeria’s local folkloric music, and thereby created the genre known as pop rai. Other artists who played a role in the development of pop rai include the Oran-based Chaba Fadela, who started her career with Bellemou’s group, Cheb Khaled, and Groupe El Azhar; and from Sidi Bel Abbès, guitarist and singer Ahmed Zergui. During the 1980s, rai music became national, and producer Rachid Baba Ahmed of Tlemcen further modernized its sound through the use of electronic keyboards. By the late 1980s, rai had become international, a new generation of artists had emerged, and the ensembles and artists that forged pop rai in the 1970s were displaced. Today those artists are largely forgotten, and this critical period in the history of rai remains seriously understudied.
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Skjoldager-Nielsen, Kim. „Aesthetics and Dramaturgies of Immersive and Interactive Theatre Since the Turn of the Millennium“. Nordic Theatre Studies 33, Nr. 1 (12.03.2022): 24–42. http://dx.doi.org/10.7146/nts.v33i1.131990.

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Since the turn of the millennium, stage art has seen an increased interest in adopting and developing interactive and immersive aesthetics. Thisarticle offers a comparative study of two Danish groups, SIGNA and Sisters Hope, and one Swedish group, Poste Restante. The visual dimension of theperformances by these three groups is striking, which may be partly attributed to the interconnections between the artists that has allowed a flow of ideasand strategies to occur between one group and the other. Looking at these connections, it appears that there is a line going from SIGNA (established in2001) to Poste Restante (established in 2007) and to Sisters Hope (established in 2014). Whilst there are similarities, there are also great differences in termsof the aesthetics and dramaturgies of these groups, which reflect political, ethical, and ideological differences in the context of Nordic societies. The paperinvestigates these aspects through their relations to the audience: how is the audience included in a performance? And what is the purpose of applying aninteractive and immersive aesthetics?
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Skjoldager-Nielsen, Kim. „Aesthetics and Dramaturgies of Immersive and Interactive Theatre Since the Turn of the Millennium“. Nordic Theatre Studies 33, Nr. 1 (12.03.2022): 24–42. http://dx.doi.org/10.7146/nts.v33i1.131990.

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Since the turn of the millennium, stage art has seen an increased interest in adopting and developing interactive and immersive aesthetics. Thisarticle offers a comparative study of two Danish groups, SIGNA and Sisters Hope, and one Swedish group, Poste Restante. The visual dimension of theperformances by these three groups is striking, which may be partly attributed to the interconnections between the artists that has allowed a flow of ideasand strategies to occur between one group and the other. Looking at these connections, it appears that there is a line going from SIGNA (established in2001) to Poste Restante (established in 2007) and to Sisters Hope (established in 2014). Whilst there are similarities, there are also great differences in termsof the aesthetics and dramaturgies of these groups, which reflect political, ethical, and ideological differences in the context of Nordic societies. The paperinvestigates these aspects through their relations to the audience: how is the audience included in a performance? And what is the purpose of applying aninteractive and immersive aesthetics?
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Salissou, Maman Mahaman, Bako Aminatou Maazou und Sabo Haoua Seini. „Essai d’une farine de sevrage dans la réhabilitation nutritionnelle de la malnutrition aigüe en milieu communautaire, au Niger“. Journal of Applied Biosciences 151 (31.07.2020): 15573–83. http://dx.doi.org/10.35759/jabs.151.6.

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Objectif : l’objectif vise à évaluer l’efficacité des bouillies à base de mil, tourteaux d’arachide et la poudre de moringa, chez les enfants âgés de 6 à 59 mois admis pour malnutrition au niveau du Centre de Santé Intégré de Dan Issa. Méthodologie et Résultats : Cette étude prospective, s’est déroulée du 23 août au 04 octobre 2019. Elle a concerné 44 enfants de 06 à 59 mois, répartis en trois groupes. Le premier groupe de 20 enfants atteints de malnutrition aigüe modérée, recevant la bouillie ; le deuxième groupe constitué de 12 enfants atteints de malnutrition aigüe légère, reçoit la même bouillie et le troisième groupe constitué de 12 enfants atteints de malnutrition aigüe modérée, reçoit du CSB++. Les données ont été analysées avec le logiciel SPSS version 20. Ainsi, il ressort : pour le premier groupe, l’âge moyen est de 12,20 mois ± 4,336. La moitié des enfants (50%) a observé une amélioration de leur nutritionnel dès la première semaine de traitement avec un gain de poids moyen de 73,92g par jour ± 73,7. Pour le deuxième groupe, l’âge moyen est de 28,92 mois ± 15,163. On a constaté que 75% des enfants ont atteint le poids cible dès la première semaine de prise en charge, avec un gain de poids moyen de 85,11g/j ± 47,22. Pour le troisième groupe ayant reçu le CSB++, on a constaté que seuls 3 enfants sur 12 (25%) ont observé une amélioration de leur état nutritionnel après 14 jours de traitement. Le gain de poids moyen était de 20,53g/j ± 23,14. Cependant, il faut noter que ce dernier groupe n’a reçu le CSB++ qu’une seule fois et le CSI était en rupture jusqu’à la fin de l’étude. En effet, l’action de la bouillie sur le gain pondéral a été remarquable. Tous les enfants ont acceptés la bouillie et qu’aucun signe d’intolérance n’a été noté. Conclusion et application des résultats : la bouillie mis au point à partir du mil, tourteaux d’arachide et la poudre de moringa est une approche pour combattre ou prévenir à long terme la malnutrition chez les enfants de moins de cinq ans au Niger. Cependant, la bouillie seule ne constitue pas le traitement, mais doit être couplée avec des mesures sanitaires, d'hygiène et d’éducation nutritionnelle des mères. Mots-clés : essai, farine, malnutrition, prévention, réhabilitation nutritionnelle, Niger. Maman et al., J. Appl. Biosci. 2020 Essai d’une farine de sevrage dans la réhabilitation nutritionnelle de la malnutrition aigüe en milieu communautaire, au Niger). 15574 ABSTRACT Objective: the objective aims to assess the effectiveness of millet-based porridge, peanut cake and moringa powder, in children aged 6 to 59 months admitted for malnutrition at the Dan Issa Integrated Health Center. Methodology and Results: This prospective study took place from August 23 to October 04, 2019. It involved 44 children from 06 to 59 months, divided into three groups. The first group of 20 children with moderate acute malnutrition, receiving porridge; the second group of 12 children with mild acute malnutrition receives the same porridge and the third group of 12 children with moderate acute malnutrition receives CSB ++. Data were analyzed with SPSS software version 20. Thus, it emerges: for the first group, the average age is 12.20 months ± 4.336. Half the children (50%) observed an improvement in their nutrition from the first week of treatment with an average weight gain of 73.92 g per day ± 73.7. For the second group, the average age is 28.92 months ± 15.163. It was found that 75% of children reached the target weight within the first week of treatment, with an average weight gain of 85.11 g / d ± 47.22. For the third group who received CSB ++, it was found that only 3 out of 12 children (25%) observed an improvement in their nutritional status after 14 days of treatment. The average weight gain was 20.53 g / d ± 23.14. However, it should be noted that the latter group received CSB ++ only once and the CSI was out until the end of the study. Indeed, the action of porridge on weight gain has been remarkable. All the children accepted the porridge and no signs of intolerance were noted. Conclusion and application of the results: the porridge developed from millet, peanut cake and moringa powder is an approach to combat or prevent long-term malnutrition in children under five in Niger. However, porridge alone is not the treatment, but should be combined with sanitary, hygienic and nutritional education measures for mothers. Keywords: trial, flour, malnutrition, prevention, nutritional rehabilitation, Niger.
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Vivas, Carlos Germán. „Aspectos retóricos y agenciales de los amuletos del artista Antonio Vallejos“. Folia Histórica del Nordeste, Nr. 49 (28.03.2024): 109–32. http://dx.doi.org/10.30972/fhn.49497392.

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Este artículo aborda la producción objetual de Antonio Vallejos, artista imaginero de Villaguay, Entre Ríos. Su trabajo consiste en tallas en madera, hueso y metal que se destinan al uso ritual y terapéutico dentro del ámbito del culto a San La Muerte. Para esta labor, incorpora objetos de fuerte peso simbólico, como ser, llaves o monedas. Nuestro objetivo es analizar las operaciones retóricas que resignifican estos objetos, detectar el rol agentivo con lo sagrado, dentro de la red relacional, e interpretar sus aspectos holistas en el contexto de las prácticas religiosas. Utilizamos la clasificación de los modos de la retórica y la concepción de signo visual del Groupe μ (1993); la teoría de la agencia social del arte del antropólogo Alfred Gell (2021) y las nociones de holismo que el antropólogo Pablo Semán (2001) utiliza para dar cuenta de la religiosidad en los sectores populares.
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Samoshchuk, Oksana. „PSYCHOLOGICAL ASPECTS OF SALVADOR DALÍ'S PERSONALITY AND CREATIVE PROCESS“. PSYCHOLOGICAL JOURNAL 6, Nr. 1 (30.01.2020): 175–86. http://dx.doi.org/10.31108/1.2020.6.1.17.

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The article is devoted to the study of the psychological aspects of Salvador Dalí’s personality and creative process. Based on the analyzed data taken from cultural and historical conditions of the artist's life, as well as from biographical, autobiographical facts and works of art, the following groups of factors were found that influenced both the psychological characteristics and elements of the artist's creative products. The group of macro factors includes geographical, in particular the tendency to portray the landscape, where the artist lived, as the background image in his paintings; global events (the image of the Civil War was used in the painting "Soft Construction with Boiled Beans: Premonition of Civil War" (1936)). Micro factors include two subcategories: close social environment and personal events. The death of the elder brother had seemingly an intense influence on artist's personality and creativity that led to the development of guilt in the parents who treated Dalí in a special way, as their second and only son. This situation formed a sense of permissiveness and uniqueness that, becoming Dalí’s fixed personality traits, were manifested in art: the widespread use of free associations and a surrealistic approach in paintings. Freud's ideas had an exceptional influence on Salvador Dalí, and led to the development of a unique method in his works of art - a paranoid-critical method that allows mixing real objects in paintings with the fantastic ones. It is worth noting the influence of two strong childhood emotional impressions that have signs of psychological trauma: contemplation of the decomposition process of a hedgehog’s corpse and entomophobia of grasshoppers. These two events formed individual images that the artist often used in his surrealist paintings. Therefore, based on these facts we can talk about the existence of a certain mechanism that transform the image of psychological trauma into a permanent element of creativity. The results of the study showed the presence of the following Dalí’s main personality traits: shyness (especially in childhood and adolescence), narcissistic personality type, alienation and closed nature, ambition and the desire for recognition. Thus, it can be argued that there is a certain mechanism in the creative process that transforms the formed psychological traumas and phobias into stable symbolic elements of creative products. The consistent effect of certain events in a life on personality structure was established and, accordingly, the impact of such events on a choice of a certain style in creativity was revealed.
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Sokolova, A. N. „Общее и особенное в творчестве черкесских художников Адыгеи и черкесов Турции“. Nasledie Vekov, Nr. 4(24) (31.12.2020): 37–45. http://dx.doi.org/10.36343/sb.2020.24.4.003.

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The study aims to identify and analyze the general and special characteristics of the works of the Circassian artists of Adygea and their colleagues from the Adyghe diaspora in Turkey. The sources were works of fine art, the results of research by domestic and Turkish art historians, critics, sociologists, and historians. The methodology is based on a combination of comparative techniques used in art history to analyze artistic objects and systems (synchronic and diachronic methods, micro- and macro-comparison). The social function of masters of painting living in different sociocultural conditions is studied, the goals of their work are revealed, priority genres and techniques are analyzed. The importance of the Adyghe artists who lived and live in the North Caucasus, as representatives of the artistic elite of the ethnic group, is emphasized; their work is aimed at preserving mythopoetic images and ethnic identity. Other tendencies are revealed in the creative experience of the Circassian artists of Turkey, who seek not only and not so much to reveal the culture of their people, but to turn to universal values, trying to integrate into the system of European and world art. The author identifies two periods in the development of the fine arts of Circassian artists in Russia and Turkey: before the collapse of the USSR and after it. The characteristic features of the oeuvre of representatives of both groups of artists during the periods identified are revealed. The activity of contemporary artists-receptivists of Adyghe origin (R. Tsrimov and A. Guchapshev and others) is especially highlighted. The basic artistic principles of receptivism are given, and, in a comparative aspect, the degree of popularity of this trend in Kabardino-Balkaria and Adygea is revealed. It is concluded that the differences between the Adyghe artists of Russia and Turkey are manifested in several aspects: at the moment of the formation of the Adyghe art communities in Turkey and in Russia; in the peculiarities of the formed and maintained artistic tradition; in unequal conditions of obtaining professional education by masters of the Caucasus and Turkey; in the socioeconomic circumstances that determined the creative activity and indirectly influenced the value orientations of artists. The points of creative intersection lie in the plane of ethnic values, signs and symbols, equally deciphered by the Circassians of the North Caucasus and the diaspora, as well as in assessments of the historical past, especially the Caucasian War, in a particularly revered attitude towards the nature and beauty of the Caucasus. Исследование призвано выявить и проанализировать общие и особенные характеристики творчества черкесских художников Адыгеи их коллег из адыгской диаспоры Турции. Источниками послужили произведения изобразительного искусства, результаты исследований отечественных и турецких искусствоведов, критиков, социологов и историков. Методология опирается на сочетание компаративных приемов, применяемых в искусствоведении для анализа художественных объектов и систем (синхронный и диахронный методы, микро- и макросравнение). Изучена общественная функция мастеров живописи, живущих в разных социокультурных условиях, выявлены цели их творчества, проанализированы приоритетные жанры и приемы. Подчеркнуто значение адыгских художников, живших и живущих на Северном Кавказе, как представителей художественной элиты этноса, при этом их творчество направлено на сохранение мифопоэтических образов и этнической идентичности. Иные тенденции выявлены в творческом опыте черкесских художников Турции, которые стремились не только и не столько раскрывать культуру своего народа, сколько обращались к универсальным ценностям, пытаясь интегрироваться в систему европейского и мирового искусства. Автор выделяет два периода развития изобразительного искусства черкесских художников России и Турции: до распада СССР и после него. Выявляются характерные черты творчества представителей обеих групп художников на протяжении выделенных периодов. Особо выделена деятельность современных художников-рецептуалистов адыгского происхождения (Р. Цримова и А. Гучапшева и др.). Приведены основные художественные принципы рецептуализма, и в сравнительном аспекте выявлена степень известности этого направления в Кабардино-Балкарии и Адыгее. Делается вывод, что различия между адыгскими художниками России и Турции проявлялись в нескольких аспектах: в моменте формирования адыгских художественных сообществ в Турции и в России; в особенностях сформировавшейся и поддерживавшейся художественной традиции; в неравных условиях получения профессионального образования мастерами Кавказа и Турции; в социально-экономических обстоятельствах, определявших творческую деятельность и косвенно повлиявших на ценностные ориентации художников. Точки творческого пересечения лежат в плоскости этнических ценностей, знаков и символов, одинаково расшифрованных черкесами Северного Кавказа и диаспоры, а также в оценках исторического прошлого, особенно Кавказской войны, в особо почитаемом отношении к природе и красотам Кавказа.
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Shipton, Parker. „Debts and trespasses: land, mortgages, and the ancestors in western Kenya“. Africa 62, Nr. 3 (Juli 1992): 357–88. http://dx.doi.org/10.2307/1159748.

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AbstractAgricultural programme planners have commonly assumed that, to adopt new crops and inputs, small-scale farmers need financial loans, and that private land titles help them to borrow by providing a form of collateral for mortgages. The experience of the over 2 million Luo people and others in Kenya shows how inappropriate this theory can be in a tropical African context.With a land-holding system based on patriliny, the hosting of in-laws, and other principles, Luo tend to live among kin. They continue to justify land claims largely by labour, by the presence of ancestral graves, and by the group membership these represent. These patterns persist despite individual titling by the government since the 1950s. Financial institutions trying to foreclose on defaulters, and buyers trying then to move on to those lands, face stiff social a~hd political resistance, sometimes violent. The government land register obsolesces, and double-dealing proliferates. The mortgage system breaks down.Other problems in exogenous finance are legion. Credit means debt. It also means patronage, at international, national, or local levels. Neither public nor private financial institutions have overcome the great cultural, political, or pragmatic difficulties of lending to small farmers for staple food cropping or most other farm activities. These people have important debts and obligations of their own already, some quite subtle and some long-term. The promise of more loans, the most commonly cited justification for freehold tenure, proves largely illusory in western Kenya, as in many other rural parts of tropical Africa. Aid strategies based on saving and investment, and on non-financial intervention, hold more promise.RésuméCeux qui ont établi la planification agricole ont assumé de facon générate que, pour adopter les nouvelles cultures et ressources, les fermiers à petite échelle ont besoin de prêts financiers, et que le titre de propriétaire leur permet d'emprunter en constituant une sorte d'engagement pour une hypothéque. L'exemple du peuple Luo de plus de deux millions et des autres au Kenya, montre que cette théorie n'est pas due tout appropriee dans le contexte d'une Afrique tropicale.En raison d'un systeme foncier basé sue l'héritage père-fils, le recueillement des belles-families, et d'autres principes, les Luo ont tendance à vivre en communaute familiale. Us continuent à justifier leurs demandes de terres essentiellement par leur travail effectué, par la présence des tombes ancestrales, et par l'appartenance au groupe que celles-ci représentent. Ces modèles persistent, même depuis que le gouvemement a attribué des titres de propriété individuels à partir des années 1950. Les institutions financières qui tentent de saisir les débiteurs, et les acheteurs qui essaient de prendre possession de ces terres, se heurtent à une résistance ferme à la fois sociale et politique, et parfois même violente. Le registre des terres du gouvemement tombe en désuetude, et le procédé du double-jeu prolifère. Le système de l'emprunt s'effondre.Les autres problèmes en finance exogène sont multiples. Le credit est un signe de dette. II signifie aussi le patronage, aux niveaux international, national, ou local. Aucunes institutions financières publiques ou privées n'ont pu surmonter les grandes difficultés culturelles, politiques ou pragmatiques pour prêter à de petits fermiers pour la production alimentaire de base ou la plupart des autres activités de la ferme. Ces gens ont déjà leurs propres dettes de reconnaissance, à plus ou moins long terme. La promesse d'emprunts supplémentaires, ce qui est le plus regulièrement utilisé pour justifier la propriété fonciére libre, se revèle être fortement illusoire dans le Kenya de l'ouest, comme dans beaucoup d'autres régions de l'Afrique tropicale. Les stratégies d'aides basées sur l'épargne et l'investissement, ainsi que sur des interventions non financieres donnent plus d'espérances.
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Dissertationen zum Thema "Groupe Signe (Group of artists)"

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Goldman, Noémie. „Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique“. Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.

Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture.

Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX.

Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /

This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.

This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.

The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.

The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation.


Doctorat en Histoire, art et archéologie
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Dessy, Clément. „Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences“. Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.

Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
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Bücher zum Thema "Groupe Signe (Group of artists)"

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Murray, Joan. Masterpieces: Tom Thomson and the Group of Seven. Toronto: Prospero Books, 2004.

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Stöckl, A. Thomas. Künstlergruppe Die "Quelle" =: Groupe d'artistes Die "Quelle" = Artists' group Die "Quelle". 2. Aufl. Freiburg: Jung-Verlag, 1989.

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Hirselj, Germain. Le groupe de Roubaix: Une aventure artistique, 1946-1975. Tourcoing]: Éditions Invenit, 2018.

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Parinaud, André. Groupe mémoires: Arickx, Diaz Gálvez, Hastaire, Kleinmann, Kuper, Vaughn-James, Zaborov. Paris: Guide Mayer, 2004.

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The Group of Seven and Tom Thomson: Tom Thomson, Lawren Harris, J.E.H. MacDonald ... [et al.]. Toronto, Ont: Firefly Books, 2003.

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Bonnet, Alain. Artistes en groupe: La représentation de la communauté des artistes dans la peinture du XIXe siècle. Rennes: Presses universitaires de Rennes, 2007.

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Derivery, François. Le Groupe DDP, 1971-1998: Pratiques collectives, pratiques artistiques. Paris: E.C., 1999.

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Reindl, Peter. Le groupe d'artistes Brücke: Gravures, dessins et aquarelles du Musée d'Oldenbourg. Oldenburg: Landesmuseum Oldenburg, 1990.

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Dramé, Barbara. Les linogravures du groupe Les Indélicats: 1932-1936 : supports artistiques d'une contestation politique et sociale. Bassac: Éditions Plein Chant, 2022.

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Musée national Fernand Léger (France). L'été 1954 à Biot: Architecture, formes, couleur : Biot, musée national Fernand Léger, 25 juin-26 septembre 2016. Paris: Réunion des musées nationaux-Grand Palais, 2016.

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Buchteile zum Thema "Groupe Signe (Group of artists)"

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Vovolis, Thanos. „Performance, Activism and Citizenship: The Experimental Theatre of Thrace, Greece“. In Strategic Innovative Marketing and Tourism, 715–22. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_77.

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AbstractLocal communities and social groups nowadays interact to create a dialogic environment using the arts as a vehicle. The paper examines the case of the Experimental Theatre of Thrace as a pivotal Greek example of the emergence of new forms of citizenship as a performative expressive practice. A practice that gained momentum in many European countries during the twenty-first century, emphasizing the performative dimension of citizenship as well as the artistic value of activism. The article focuses on the landscape political action ‘Tea-time Europe’, a provocative artistic initiative and an ode to all people who drown every day in the Aegean and the Mediterranean seas during their attempt to reach Europe, pushed by wars, violence, persecution, and poverty. The ongoing global refugee crisis shows no signs of decline, and the Mediterranean Sea has become the graveyard for humans and hopes. In the light of the constant resurfacing of xenophobia and neo-fascist ideology in Europe the action ‘Teatime Europe’ is an urgent reminder of the creative power of autonomous citizen communities to recall by artistic means our shared humanity, inviting a rethink of mindsets about art and society. The case study presented consists of a paradigm of the creative collaboration between professional artists and communities, both benefiting greatly from the collaborative process. It provides us with an example of how artistic projects can regenerate communities and how communities are empowered to produce cultural artistic projects where the creative process promotes ethical and social responsibility, awareness, and social sustainability.
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Cuyler, Antonio C. „4. Until George Floyd“. In Classical Music Futures, 81–90. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.04.

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The previous chapter advanced discourses about practical solutions to classical music’s exclusion problem relative to women, neurodiverse, and cultural workers from low socioeconomic backgrounds. In Moving Beyond @operaisracist: Exploring Blacktivism as a Pathway to Antiracism and Creative Justice in Opera and (Un)Silencing Blacktivism in Opera: A Conversation about the Letter to the Opera Field from Black Administrators, I document how the Black Opera Alliance and Black Administrators of Opera have compelled opera companies to sign a pledge for racial equity as the first step towards racial justice in classical music post George Floyd’s state-sanctioned murder in May of 2020. The pledge compels opera companies to (1) hire Black artists, (2) require staff, orchestra members, and independent contractors to reflect the racial demographics of our most diverse communities, (3) program and prioritize works by Black composers, (4) hire more Black creatives and production personnel, (5) require that visual artists undergo training in successfully preparing Black artists for the stage, (6) review the organisation’s hiring practices and policies for racism, (7) review the board’s recruitment culture, (7) and include within the company’s official code of conduct a commitment to anti-racism, and anti- oppression. Furthermore, the Black Administrators of Opera suggested that opera companies (1) commit to equity in salaries and promotion opportunities, (2) commit to company-wide racial equity education and professional development, (3) commit to equitable hiring and recruitment practices, (4) commit to company-wide intentional inclusion in the execution of mission and programs, and (5) commit to adequately funding company diversity, equity, and inclusion initiatives and working groups.
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Marovich, Robert M. „Gospel Music in Newark“. In Peace Be Still, 18–32. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252044113.003.0003.

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Chapter 2 explores the evolution of the African American gospel music community in Newark, and how Lawrence and Bootsy Roberts, as well as prominent Angelic Choir members such as Connie Pitts and Freeman Johnson, fit within that community. Readers are introduced to Newark gospel groups with national followings, such as the Coleman Brothers, the Drinkard Singers, and the Gospel Clefs. Since many Newark gospel artists, including the Angelic Choir, signed recording contracts with Savoy Records, the chapter includes a biography of Savoy founder Herman Lubinsky and a history of the company from its inception in 1942 to the late 1950s. Roberts’s formation of his first gospel group, the Gospel Chordettes / Lawrence Roberts Singers, and his joining Savoy’s gospel division, close the chapter.
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Kleppinger, Kathryn A. „Sabri Louatah and the Qui fait la France? Collective“. In Branding the 'Beur' Author, 235–53. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781381960.003.0007.

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The concluding chapter to the book compares two recent literary phenomena: a manifesto by a group of artists who sought for greater recognition of their artistic projects as well as the Les Sauvages trilogy by Sabri Louatah. The manifesto strongly proclaims the group’s frustrations with literary labelling and also condemns French society for on-going marginalization and discrimination. Their literary and political projects become confused, however, in that they often seem to contradict themselves by arguing for greater openness in readings of their work but then published a collection of short stories specifically about racism and discrimination in contemporary French society. Louatah’s trilogy, on the other hand, employs Arab characters but in a clearly fictionalized setting. His interviewers ask him much more about his writing process and artistic goals, and when they move toward social or political matters he politely tells them he has nothing to say. The presence of these two currents, the chapter argues, demonstrates that the descendants of North African immigrants to France have reached a point where many perspectives are possible and publicized by the mainstream media, which is perhaps the clearest sign of accomplishing their goals of being treated as insiders to French society.
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Domínguez, Ricardo. „Electronic Civil Disobedience“. In Digital Humanities in Latin America, 205–22. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401476.003.0013.

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This chapter discusses the Electronic Disturbance Theater (EDT), a group that developed virtual sit-in technologies in solidarity with the Zapatistas communities in Chiapas, Mexico, in 1998. EDT, like many artivist groups, understood that the “politics of fear” set-off by 9/11 would be used by governments to establish almost everything under the signs of cyberwar, cyberterrorism, and cybercrime in order stop the development of Digital Zapatismo, electronic civil disobedience, hacktivism, and tactical media work across the arcs of Latin America and beyond. This essay establishes the conditions that were navigated by EDT and artivists working across digital platforms to establish new network gestures that would connect and amplify new visions of social formations emerging across Latin America, especially from the indigenous communities that were not deterred by the establishment of post-9/11 planetary war.
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Bernstein, R. B. „1. Words, images, meanings“. In The Founding Fathers: A Very Short Introduction, 1–6. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780190273514.003.0001.

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The phrase “founding fathers” is central to how Americans talk about politics, and “Words, images, meanings” describes when the phrase was first coined, what it really means, and how artists have depicted the “founding fathers”—those who helped to found the United States as a nation and a political experiment. This group has two subsets. First are the Signers, delegates to the Second Continental Congress, who in July 1776 declared American independence and signed the Declaration of Independence. Second are the Framers, the delegates to the Federal Convention who in 1787 framed the United States Constitution. They include Benjamin Franklin, George Washington, John Adams, Thomas Jefferson, John Jay, James Madison, and Alexander Hamilton.
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Fenderson, Jonathan. „Introduction: A Movement Architect“. In Building the Black Arts Movement, 1–16. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042430.003.0001.

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On a wintry Monday in December 1969, a small contingent of African American protesters gathered at 1820 South Michigan Avenue just outside the main headquarters of the black-owned Johnson Publishing Company (JPC) in Chicago. Armed with picket signs and protest chants, they dramatically captured the attention of eyewitnesses and bewildered employees inside the building. Included among the demonstrators were several artists, intellectuals, and activists from a variety of local organizations—a genuine cross-section of the Black creative community in the city. In their efforts to seize the attention of JPC’s founding owner and president, John H. Johnson, the group staged the protest with the stated goal to make the company “truly representative of the Black community.”...
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Lin, Jenny. „Silicon Wafers and Office Park Dreams : Cross-Cultural Designs, Aesthetics, and Art in and around California’s Santa Clara Valley“. In Aesthetics of Gentrification. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722032_ch03.

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This chapter examines the visual culture of Silicon Valley. I look to Silicon Valley’s “golden years,” exemplified by the establishment of Xerox PARC in the 1970s, and analyse how PARC’s researchers’ embrace of open exchange and experimentation manifested in university campus-like office design. I subsequently consider the morphing of PARC’s design into the monumental corporate architecture of Apple Park, and the work/ play environments of Google and Airbnb. I argue that these late capitalist corporations aestheticize Silicon Valley’s foundational values, transforming the promotion of cross-cultural sharing into empty visual signs that mask economic inequality and displacement. Finally, the chapter discusses collaborations between artists and community groups, facilitated by the San José Museum of Art, which aim to reclaim multiculturalism and resist the area’s unsustainable gentrification.
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Arnold, Denis. „Mantua“. In Monteverdi, 7–25. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164654.003.0002.

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Abstract The visitor to Mantua may find it hard to believe how great was Monteverdi's success. The town today seems rather forlorn, its huge palace a museum, its present raison d'etre a market for the rich countryside by which it is surrounded. In the later years of the sixteenth century it was very different. Although never destined to be one of the greatest cities of Europe, Mantua was no mere provincial centre. The house of Gonzaga had brought the city to a fine prosperity, and encouraged by a succession of dukes who loved all the outward signs of richness, artists and musicians, actors and poets were glad to accept the bountiful patronage they were offered. Rubens, Tasso and Guarini are only three among many famous names in letters and painting that we find associated with the Mantuan court; and to these can be added a group of musicians just as distinguished.
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Massi, Marta, Chiara Piancatelli und Sonia Pancheri. „Art and Brand Contamination“. In Advances in Media, Entertainment, and the Arts, 339–54. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8491-9.ch020.

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Albeit often perceived as two worlds apart, low culture and high culture are increasingly converging to collaborate in mutually advantageous ways. Brands—including the name, term, sign, symbol, or combination of them that identify the goods and services of a seller or group of sellers, and differentiate them from those of the competitors—are the new territory where high culture and low culture co-exist and collaborate, creating new possibilities of cross-fertilization and hybridization between the two. Through the analysis of successful examples coming from different industries, this chapter aims to highlight how brands have blurred the distinction between low culture and high culture. On the one hand, brands can use the heritage of the arts world to gain authenticity and legitimate themselves in the eyes of consumers and the society. On the other hand, artists and arts organizations, such as museums and other art institutions, can indulge in popular culture in order to become appealing to younger target markets and enhance their brand awareness and image.
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