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1
Baker, Daniel Alexander. "Technologies of encounter : exhibition-making and the 18th century South Pacific." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13703/.
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Between 1768 and 1780 Captain James Cook led three epic voyages from Britain into the Pacific Ocean, where he and his fellow explorers- artists, naturalists, philosophers and sailors, were to encounter societies and cultures of extraordinary diversity. These 18th Century South Pacific encounters were rich with performance, trade and exchange; but they would lead to the dramatic and violent transformation of the region through colonisation, settlement, exploitation and disease. Since those initial encounters, museums in Britain have become home to the images and artefacts produced and collected in the South Pacific; and they are now primary sites for the representation of the original voyages and their legacies. This representation most often takes the form of exhibitions and displays that in turn choreograph and produce new encounters with the past, in the present. Drawing on Alfred Gell's term 'technologies of enchantment' my practice reconceives the structures of exhibitions as 'technologies of encounter': exploring how they might be reconfigured to produce new kinds of encounter. Through reflexive practice I critically engage with museums as sites of encounters, whilst re-imagining the exhibition as a creative form. The research submission takes the form of an exhibition: an archive of materials from the practice, interwoven with a reflective dialogue in text. The thesis progresses through a series of exhibition encounters, each of which explores a different approach to technologies of encounter, from surrealist collage (Cannibal Dog Museum) and critical reflexivity (The Hidden Hand), to a conversational mode (Modernity's Candle and the Ways of the Pathless Deep).
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Lee, Sai-chong Jack, and 李世莊. "China trade painting: 1750s to 1880s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015442.
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尹浩然 and Ho-yin Wan. "Population expansion, internal migration and social disturbances in eighteenth-century China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31221828.
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Wong, Chi-man Lorraine, and 黃芷敏. "Cultural fever, consumer society and pre-orientalism China in eighteenth-century England." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227946.
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Feng, Huanian, and 馮華年. "The reception of western art history in Republican China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227326.
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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.
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Turner, Grace S. "An Allegory for Life: An 18th century African-influenced cemetery landscape, Nassau, Bahamas." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539623360.
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I use W.E.B. Du Bois' reference to the worlds 'within and without the veil' as the narrative setting for presenting the case of an African-Bahamian urban cemetery in use from the early eighteenth century to the early twentieth century. I argue that people of African descent lived what Du Bois termed a 'double consciousness.' Thus, the ways in which they shaped and changed this cemetery landscape reflect the complexities of their lives. Since the material expressions of this cemetery landscape represent the cultural perspectives of the affiliated communities so changes in its maintenance constitute archaeologically visible evidence of this process. Evidence in this study includes analysis of human remains; the cultural preference for cemetery space near water; certain trees planted as a living grave site memorial; butchered animal remains as evidence of food offerings; and placement of personal dishes on top of graves.;Based on the manufacture dates for ceramic and glass containers African-derived cultural behavior was no longer practiced after the mid-nineteenth century even though the cemetery remained in use until the early twentieth century. I interpret this change as evidence of a conscious cultural decision by an African-Bahamian population in Nassau to move away from obviously African-derived expressions of cultural identity. I argue that the desire for social mobility motivated this change. Full emancipation was granted in the British Empire by 1838. People of African descent who wanted to take advantage of social opportunities had to give up public expressions of African-derived cultural identity in order to participate more fully and successfully in the dominant society.
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Edwards, Stephen Otis. "Lintin Island :the Canton trade at anchor, 1790 to 1840." Thesis, University of Macau, 2015. http://umaclib3.umac.mo/record=b3335244.
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Li, Mumiao, та 李木妙. "明末淸初中國的海外貿易". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B15967517.
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Fisher, Karen B. "Community in Gloucestertown, Virginia: The Context and Archaeology of Town Development in 17th and 18th Century Virginia." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625335.
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Dworsky, Joel Garrett. "Ghosts on the Coast of Paradise: Identifying and Interpreting the Ephemeral Remains of Bermuda's 18th Century Shipyards." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626650.
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Lam, Chun-cheung Otto, and 林準祥. "A study of the origins, emergence and development of Western banking in China, 1770s-1866." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38031012.
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Carter, Trevor Ryan. "The Beasley Wharf Complex: A Study of Frontier Interaction in the Lower Great Lakes in the Late 18th Century." W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626205.
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Vogt, Christy Cathleen. "A Toast to the Tavern: an Archaeological Study of a 17th and 18th Century Tavern in Charlestown, Massachusetts." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625863.
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蕭芬琪 and Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.
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Bertram, Aldous Colin Ricardo. "Chinese influence on English garden design and architecture between 1700 and 1860." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610795.
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Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
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Lin, Su-Hsing. "Feng Zikai's Art and the Kaiming Book Company: art for the people in early twentieth century China." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079634774.
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Thesis (Ph. D.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains xxxiii, 445 p.; also includes graphics (some col.). Includes abstract and vita. Advisor: Julia F. Andrews, Dept. of History of Art. Includes bibliographical references (p. 317-251).
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McHale, Katherine Jean. "Ingenious Italians : immigrant artists in eighteenth-century Britain." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13854.
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Italian artists working in eighteenth-century Britain played a significant role in the country's developing interest in the fine arts. The contributions of artists arriving before mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence of a larger number of Italians from mid-century is seldom acknowledged. Increasing British wealth and attention to the arts meant more customers for immigrant Italian artists. Bringing with them the skills for which they were renowned throughout Europe, their talents were valued in Britain. Many stayed for prolonged periods, raising families and becoming active members in the artistic community. In a thriving economy, they found opportunities to produce innovative works for a new clientele, devising histories, landscapes, portraits, and prints to entice buyers. The most successful were accomplished networkers, maintaining cordial relationships with British artists and cultivating a variety of patrons. They influenced others through teaching, through formal and informal exchanges with colleagues, and through exhibition of their works that could be studied and emulated.
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Abel, Jonathan 1985. "Jacques-Antoine-Hippolyte, Comte De Guibert: Father of the Grande Armée." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700071/.
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Jacques-Antoine-Hippolyte, comte de Guibert (1743-1790) dedicated his life and career to creating a new doctrine for the French army. Little about this doctrine was revolutionary. Indeed, Guibert openly decried the anarchy of popular participation in government and looked askance at the early days of the Revolution. Rather, Guibert’s doctrine marked the culmination of an evolutionary process that commenced decades before his time and reached fruition in the Réglement of 1791, which remained in force until the 1830s. Not content with military reform, Guibert demanded a political and social constitution to match. His reforms required these changes, demanding a disciplined, service-oriented society and a functional, rational government to assist his reformed military. He delved deeply, like no other contemporary writer, into the linkages between society, politics, and the military throughout his career and his writings. Guibert exerted an overwhelming influence on military thought across Europe for the next fifty years. His military theories provided the foundation for military reform during the twilight of the Old Regime. The Revolution, which adopted most of Guibert’s doctrine in 1791, continued his work. A new army and way of war based on Guibert’s reforms emerged to defeat France’s major enemies. In Napoleon’s hands, Guibert’s army all but conquered Europe by 1807. As other nations adopted French methods, Guibert’s influence spread across the Continent, reigning supreme until the 1830s. This dissertation adopts a biographical approach to examine Guibert’s life and influence on the creation of the French military system that led to Napoleon’s conquest of Europe. As no such biography exists in Anglophone literature, such a work will fill a crucial gap in understanding French military success to 1807. It examines the period of French military reform from 1760 to the creation and use of Napoleon’s Grande Armée from 1803 to 1807, illustrating the importance of Guibert’s systemic doctrine in the period. Moreover, the work argues that Guibert belongs in the ranks of authors whose works exerted a primary influence on the French Enlightenment and Revolution by establishing Guibert as a “Great Man” of the Republic of Letters between 1770 and his death in 1790.
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Grant, Sarah. "Representations of the princesse de Lamballe (1749-1792) : the portraiture, patronage and politics of a royal favourite at the court of Marie-Antoinette." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:1797d7c6-5c22-44a9-8ab3-adfcddfd43fc.
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This thesis examines the portraiture and patronage of Marie Thérèse Louise de Savoie-Carignan, the princesse de Lamballe (1749-1792). It is the first comprehensive and detailed study to be undertaken of the princess's activities as patron. Lamballe was Marie-Antoinette's longest-serving confidante and Superintendent of the Queen's Household. Through close formal analysis of the portraits combined with careful consideration of the sitter's personal circumstances and the wider cultural and historical context, the thesis challenges scholarly assumptions that the princess had only negligible influence as a sitter and patron. As a case study of an independent, professionally ambitious and childless widow, it identifies a wider range of motives and cultural meanings than has previously been ascribed to female court patronage of this period. The first chapter demonstrates that the early depictions of Lamballe as a docile and grieving princess were largely dictated by her father-in-law, an identity the princess subsequently discarded when she assumed a professional role at court. Chapter two examines portraits executed during the princess's rise to political and social prominence and shows that her attachment to the queen and the length of time she spent in her company and service, together with her publicly visible roles as freemason and salonnière, made her a figure of considerable renown and influence and thereby a highly significant patron at the French court. This was enhanced by the princess's international reputation as a talented amateur artist in her own right and by her financial and social support of aspiring artists and art institutions. The princess's engagement with the cult of sentiment and advocacy of women artists is allied to the sorority encouraged by Marie-Antoinette within the women of her select circle. Complementary chapters on the princess's previously unknown anglophile inclinations (discussed in Chapter three) and her private collections, library, and musical and literary patronage (considered in Chapter four) further reveal that Lamballe was an informed and cultivated female patron who operated at the very centre of Marie-Antoinette's circle.
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Madsen, David andrew. "All Sorts of China Ware Large, Noble and Rich Chinese Bowls: Eighteenth-Century Chinese Export Porcelain in Virginia." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625951.
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Loir, Christophe. "Les transformations artistiques en Belgique entre 1773 et 1835: institutions, hommes et oeuvres." Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211521.
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Ma, Li. "Les représentations de l'art de gouverner chinois dans les périodiques de langue française de la seconde partie du XVIIIe siècle." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30062.
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Le dix-huitième siècle ouvre une nouvelle ère dans l’histoire des échanges culturels franco-chinois. La Chine apparaît non seulement comme un pays mystérieux, qui inspire les auteurs de fiction, mais encore, aux yeux des philosophes, comme une nation qui mérite d’être étudiée. Cette étude porte sur un domaine jusqu’à présent peu exploré dans les travaux sur les échanges culturels entre la France et la Chine, à savoir la presse. Notre enquête se propose d’étudier les représentations de l’art de gouverner chinois dans les périodiques de langue française dans la seconde moitié du XVIIIe siècle et le rôle joué par ceux-ci dans la diffusion de représentations de la Chine dans la société française<br>The eighteenth century opens a new era in the history of Franco-Chinese cultural exchanges. China appears not only as a mysterious country, which inspired the authors of fiction, but also, in the eyes of the philosophers, as a nation deserves to be studied. This study focuses on a field so far little discovered in the works on cultural exchanges between France and China, namely the press. Our investigation intends to consider the representations of the Chinese art of governing in French-language periodicals in the second half of the 18th century and the role played by them in the dissemination of representations of China in French society
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Liu, Yu-jen. "Publishing Chinese art : issues of cultural reproduction in China, 1905-1918." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:284f18b9-a0ce-4a4a-bdb4-6a1c1ece44ce.
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This thesis is an enquiry into the conditions in which various understandings of the newly introduced but vaguely grasped Western notion of ‘art’ emerged and sustained themselves in the name of cultural reproduction in early twentieth-century China. This Western concept of art was translated into Chinese as ‘meishu’, a neologism originally coined in Japanese kanji, and regarded as the embodiment of the ‘national essence’. Through a close examination of five art-related publishing events—the publication of the nationalistic journal Guocui xuebao; the launch of the art periodical Shenzhou guoguangji; the endeavours to compile a book collection on art, Meishu congshu; the making of the text Zhonguo yishujia zhenglüe which claimed to be a history book of Chinese ‘meishu’; and an example of image appropriation from Stephen Bushell’s Chinese Art—this thesis explores the ways in which different ‘neologistic imaginations’ of the term ‘meishu’ were constructed through publishing practices attempting to preserve and reproduce the ‘national essence’, by creating from the existent tradition a category of ‘art’ equivalent to that in the European West. Unlike previous scholarship, which deems any understanding of ‘meishu’ that deviated from the ‘authentic’ European model a ‘misconception’, this thesis sees these disparate understandings of ‘meishu’ as equally valid statements competing for dominance in the discursive field of art. This thesis thus argues that there existed at least three modes of utterances regarding the notion of ‘meishu’ in early twentieth-century China, and that the success of any such given utterance depended upon the acceptance of the authentic quality argued in its strategy of cultural reproduction. This thesis hence not only offers a detailed analysis of each publishing event, but also provides an interpretative framework within which the recognition of these utterances can be analysed by their strategic approaches to claiming cultural authenticity.
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Pereira, André Luiz Tavares 1972. "A constituição do programa iconografico das irmandades de clerigos seculares no Brasil e em Portugal no seculo XVIII : estudos de caso." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280540.
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Orientador: Luciano Migliaccio<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-06T14:32:40Z (GMT). No. of bitstreams: 1
Pereira_AndreLuizTavares_D.pdf: 16783528 bytes, checksum: 4a2b9bca695a2de3258393c69e2d0701 (MD5)
Previous issue date: 2006<br>Resumo: A presente tese analisa o papel das irmandades de clérigos seculares, na América portuguesa e em Portugal, como encomendadoras de obras artísticas ao longo do século XVIII. Procura-se demonstrar de que maneira organiza-se seu programa iconográfico até 1731 e como esse conjunto de imagens devocionais e pintura decorativa atende às necessidades político-ideológicas do clero português na seqüência imediata da criação do Patriarcado de Lisboa em 1716. Ainda, ressaltamos a ligação de membros dos altos setores da administração religiosa portuguesa com as referidas irmandades, lembrando o exemplo do primeiro patriarca de Lisboa, D. Tomás de Almeida, ligado intimamente aos quadros da Irmandade de clérigos do Porto. Apresentamos variado registro de imagens e análises cuidadosas do patrimônio artístico das irmandades portuguesas ¿ Porto, Amarante e Viana do Castelo ¿ e daquelas instaladas na América portuguesa ¿ Salvador, Recife e Mariana ¿ sublinhando a importância do programa de imagens patrocinado por estas agremiações, que interpretamos como manipulação político-teológica da iconografia da Autoridade Religiosa, opção oportuna durante os anos do reinado de D. João V e da organização da administrção eclesiástica na América Portuguesa ao longo do século XVIII<br>Doutorado<br>Historia da Arte<br>Doutor em História
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Nicholls, Angus 1972. "The mantic art : an examination of the notion of the daemonic in the writings of Plato, Goethe and Goethe's contemporaries." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9148.
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Thorez, Eric-Selvam. "Peintres Moghols au XVIIIe siècle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040267.
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Cet ouvrage a pour objet l’étude de différents peintres moghols ayant exercé leur activité au XVIII° siècle, c'est-à-dire entre la fin du règne d’Aurengzeb et le début de celui d’Akbar II. Il s’attache à établir, pour chaque peintre, des catalogues de l’œuvre peint, et, partant, à définir les caractéristiques de chacun, en analysant le style et l’approche iconographique des peintures. Jusqu’à présent, la méconnaissance globale des collections de peintures mogholes du XVIII° siècle a désigné cette période comme une phase de recul qualitatif des peintres et des peintures, ces dernières étant généralement considérées comme peu nombreuses, stylistiquement faibles et limitées à des sujets galants, courtois ou érotiques. C’est en analysant ces collections peu étudiées que nous avons tenté d’améliorer la connaissance de cette période, à travers la vie et l’œuvre des peintres moghols face aux bouleversements qui surviennent dans l’Inde du nord tout au long du XVIII° siècle. Ainsi, nous nous sommes attaché à montrer, qu’après une première phase où prévaut, chez les peintres, une forme de classicisme, les membres de l’académie impériale ont tenté de rénover l’esthétique moghole face à l’émergence d’ateliers régionaux concurrentiels. Nous avons ensuite suivi le parcours des peintres qui s’installèrent en Oudh, amenant, sans rupture, le mouvement appelé Company Paintings, tandis qu’à Delhi, les membres de l’académie impériale s’orientaient vers une forme de néoclassicisme pictural. Ce travail permettra de jeter un regard nouveau sur les peintres moghols au XVIII° siècle, en montrant l’évolution donnée à l’esthétique classique dans un contexte de régionalisation de la peinture<br>This work is a study on Mughal painters who were active in the 18th century, between the end of Aurengzeb and the beginning of Akbar’s rein. The intention is to establish a catalogue of painted works for each painter, thereby defining the characteristics of each one through an analysis of the style and different iconographic approaches within the paintings. Until recently, the global lack of knowledge of Mughal eighteenth century painting collections defined this period as one of decline in the quality of painters and their works, the latter being generally considered to be small in number, stylistically weak and limited to gallant, courtly, and erotic subject matter.Through an analysis of these rarely studied collections that we have broached a renewal of our understanding of this period through the lives and works of these Mughal painters who were facing the political and economical disruptions that took place in the North of India throughout the whole of the eighteenth century. Therefore, our work has been focused on revealing that after an initial phase, when a form of classicism prevailed in the painters’ works, the members of the imperial academy aimed at renewing a Mughal aesthetic as the concurrent regional workshops emerged. We have then followed the direction of the painters who settling in Oudh, took with them, the movement known as Company Paintings, whereas in Delhi, the members of the imperial academy orientated themselves towards a neoclassical pictoralism. This work, by showing in particular the evolution of a classical aesthetic, will therefore allow us look anew at Mughal painters of the eighteenth century, within the context of the regionalisation of painting in India
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Gilbert, Bennett. "Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1872.
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The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style.
Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history.
Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley's views of the perfect contingency of the world and on Vico's theories of truth and ingenium.
A reading of Diderot's critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu's aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts.
The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as a pre-cinematic effects that represent the non-material, non-causal deep structure of reality.
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Eklöv, Anders. "Några diverse gamla tavlor : Om Pehr Hilleström och 1700-talets svenska konstmarknad." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-433468.
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This paper examines the painter Peh Hilleström (1732–1816) as a participant in the eighteenth century, Stockholm art market, according to the model used by Michael Baxandall in his study of Italian Renaissance art. The art market of the eighteenth century was expanding and included new groups of buyers, outside traditional patrons of art as court and aristocracy. The main purpose of the paper is to find these new art consumers. I use probate inventories from Stockholm, from the years 1735, 1775, 1795, and 1815, in which I search for annotations of paintings. The results are examined from an economic perspective, based on wealth, and a social, based on occupation and titles. Examining these four years I find a rather extensive, bourgeois, market for art, including the less well of households, and fairly independent of social status. The sources give few if any, details of the paintings listed. Hence it is not possible to connect any of the annotations in the probate inventories to Hilleström, since artists’ names are never mentioned. From some of the clues given, there is nevertheless, possible to reconstruct the outlines of what an art collection might have looked like. The wide scope of Hillestöm’s production, illustrated by the artist’s own list of his paintings, might be interpreted as a way to cater for this new market, illustrated by e.g. the frequent repetition of motives. Finally, I examine a few of Hilleström’s own paintings in the light of the previous investigation. Together the sources give a picture of a – fairly widespread – ideal of interior decoration, in which paintings are an important part.
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Smith, David R. "Nathanael Greene and the Myth of the Valiant Few." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062831/.
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Nathan Greene is the Revolutionary Warfare general most associated with unconventional warfare. The historiography of the southern campaign of the revolution uniformly agrees he was a guerrilla leader. Best evidence shows, however, that Nathanael Greene was completely conventional -- that his strategy, operations, tactics, and logistics all strongly resembled that of Washington in the northern theater and of the British commanders against whom he fought in the south. By establishing that Greene was within the mainstream of eighteenth-century military science this dissertation also challenges the prevailing historiography of the American Revolution in general, especially its military aspects. The historiography overwhelmingly argues the myth of the valiant few -- the notion that a minority of colonists persuaded an apathetic majority to follow them in overthrowing the royal government, eking out an improbable victory. Broad and thorough research indicates the Patriot faction in the American Revolution was a clear majority not only throughout the colonies but in each individual colony. Far from the miraculous victory current historiography postulates, American independence was based on the most prosaic of principles -- manpower advantage.
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Pirson, Chloé. "Les cires anatomiques (1699-1998) entre art et médecine: étude contextuelle de la collection céroplastique du musée de la médecine d'Erasme." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210884.
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Based upon a servey of the Université libre de Bruxelles medecine museum anatomical waxes collection, my Phd aims to study in an historical context the anatomical waxes fron the 18th Century to the 20th Century. We demonstrated who the didactical items created by sculpture ways appeared throw their successif uses from medical teaching to the prevention of the diseases of the time in the anatomical fairground attractions.<p><p>Sur base d'une étude de la collection des cires anatomiques du musée de la médecine d'Erasme, ma thèse de doctorat vise à l'étude contextuelle de la production de cires anatomiques depuis la fin du 18e siècle jusqu'au 20e siècle. Nous avons montré comment ses objets didactiques, produits par des moyens sculpturaux, ont été perçu à travers leurs usages successifs depuis l'enseignement médicale jusqu'à la prévention sociale des maladies d'époque, au sein des musées anatomiques forains.<p><br>Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie<br>info:eu-repo/semantics/nonPublished
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Aragonès, Riu Núria. "Iconographie des Petits Théâtres en France au XVIIIe siècle." Paris 3, 2008. http://www.theses.fr/2008PA030028.
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À l’opposé de l’histoire des arts picturaux qui part de l’existence matérielle de son objet d’étude, l’histoire des arts du spectacle – dont l’objet est une œuvre d’art éphémère par définition – s’élabore par le rassemblement de sources documentaires (textes et images) à partir desquelles l’historien étudie l’objet absent. L’iconographie théâtrale s’inscrit dans un domaine d’études nécessairement interdisciplinaire où la méthodologie de l’histoire du théâtre s’associe à celle de l’histoire des arts picturaux. Notre hypothèse de départ soutient que l’analyse formelle et stylistique de l’image peut fournir bien des interprétations plausibles pour l’histoire du théâtre. Par ailleurs, le rapprochement de l’image de théâtre et le contexte socioculturel de l’époque (les questions de production, fonction et destination de l’image) permettra de revisiter l’interprétation d’images connues et de proposer une interprétation pour les images inédites que cette étude met à la lumière. L’échantillon d’analyse est constitué d’images ayant pour sujet les « petits » spectacles français – et notamment parisiens – du XVIIIe siècle, à savoir les théâtres des foires, du boulevard du Temple, du Palais-Royal et les spectacles de rue (marionnettes, charlatans, vendeurs de chansons, montreurs de curiosités) qui composent la scène non officielle du XVIIIe siècle. Par le biais de l’analyse iconographique, nous découvrirons une image pluri-forme et pluri-fonctionnelle, dynamique et transformable, qui appelle à l’actualité théâtrale en utilisant bien souvent des modèles figuratifs traditionnels. Les champs d’étude qu’ouvre l’iconographie théâtrale sont multiples et variés et ne font que confirmer la nécessité des études transdisciplinaires pour mieux cerner l’histoire du théâtre<br>Differing from the history of painting which is based on the physical existence of the studied object, theatre art history – where the object of study is by definition an ephemeral piece of art – is elaborated by the assembly of documental sources (images and texts) that the theatre historian uses to analyse the missing object. Theatre iconography has to be studied through an interdisciplinary approach in which the methodology of theatre historians is combined with that of painting historians. Our departing hypothesis is that the analysis of form and style of the image can provide many plausible interpretations for theatre history. In addition, the consideration of the social and cultural context of the epoch (issues on the production, function and destination of the image) will allow the reinterpretation of known images as well as an interpretation for previously unknown images. The analysed sample is made of images having as subject “petits spectacles” in eighteenth-century France (mainly in Paris), that is to say fair theatres, theatres of the boulevard du Temple, Palais-Royal spectacles and other kind of street theatre (puppets, charlatans, singers, etc. ) that composed the non-official theatre life of the eighteenth-century. Through the iconographic analysis we will find a dynamic and transformable image, with multiple forms and functions, that covers current theatre events by using in some occasions traditional pictorial records. The interdisciplinary approach of theatre iconography opens new multiple fields of study that will advance our knowledge on the theatre of the past
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Lindfield, Peter Nelson. "Furnishing Britain : Gothic as a national aesthetic, 1740-1840." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3490.
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Furniture history is often considered a niche subject removed from the main discipline of art history, and one that has little to do with the output of painters, sculptors and architects. This thesis, however, connects the key intellectual, artistic and architectural debates surfacing in 'the arts' between 1740 and 1840 with the design of British furniture. Despite the expanding corpus of scholarly monographs and articles dealing with individual cabinet-makers, furniture making in geographic areas and periods of time, little attention has been paid to exploring Gothic furniture made between 1740 and 1840. Indeed, no body of research on 'mainstream' Gothic furniture made at this time has been published. No sustained attempt has been made to trace its stylistic evolution, establish stylistic phases, or to place this development within the context of contemporary architectural practice and historiography — except for the study of A.W.N. Pugin's 'Reformed Gothic'. Neither have furniture historians been willing to explore the aesthetic's connection with the intellectual and sentimental position of 'the Gothic' in the period. This thesis addresses these shortcomings and is the first to bridge the historiographic, cultural and architectural concerns of the time with the stylistic, constructional and material characteristics of Gothic furniture. It argues that it, like architecture, was charged with social and political meanings that included national identity in the eighteenth century — around a century before Charles Barry and A.W.N. Pugin designed the Palace of Westminster and prominently associated the Gothic legacy with Britishness.
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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.
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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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Plouzennec, Yvon. "La carrière de Claude Jean-Baptiste Jallier de Savault (1739-1806) : architecte du règne de Louis XV à l’Empire." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL141.
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L’architecte Claude Jean-Baptiste Jallier de Savault est une figure méconnue dont la redécouverte est relativement récente. Né en 1739 à Château-Chinon, il est élevé dans une famille bourgeoise de culture protestante. Au cours des années 1750, il s’installe à Paris et intègre l’agence de Jacques-Germain Soufflot, alors en pleine effervescence. Le cursus académique qu’il mène en parallèle de cette formation pratique, est couronné par deux seconds Prix en 1758 et en 1760. Soutenu par son maître et par Charles-Nicolas Cochin, il obtient un brevet d’élève architecte de l’Académie de France à Rome et séjourne au Palais Mancini en 1762. À son retour, il poursuit son apprentissage auprès d’Ange-Jacques Gabriel avant d’entamer une carrière au service des financiers d’Ancien Régime. Cette clientèle, à majorité protestante, lui offre l’opportunité de réaliser divers projets à Paris, mais également dans le nord-est du royaume, ainsi qu’en Suisse. Les dernières années du règne de Louis XVI, marquées par l’accession de Jacques Necker à la Direction générale des Finances, constituent le moment fort de sa carrière. Les deux succès publics qu’il remporte à cette époque (Place royale de Brest et hôtel de la Caisse d’escompte) ne voient pourtant jamais le jour, du fait des événements qui agitent le royaume. Après une parenthèse politique dans les premiers temps de la Révolution, il est employé par la Commission des travaux publics avant de devenir architecte des bâtiments civils sous le Directoire. Ce poste, qu’il occupe jusqu’à sa mort, en 1806, lui accorde un statut officiel qui constitue finalement l’aboutissement de la quête de légitimité qu’il mène tout au long de sa carrière<br>The architect Claude Jean-Baptiste Jallier de Savault is an unsung figure whose rediscovery is relatively recent. Born in 1739 in Château-Chinon, he grew up in the Protestant milieu of a tradesman family. In the 1750s, he moved to Paris and joined the office of Jacques-Germain Soufflot, then at the height of its activity. The academic course he followed in parallel with this practical training was crowned by two second prizes in 1758 and in 1760. Supported by his master and Charles-Nicolas Cochin, he was accorded the status of a student architect of the Academy of France in Rome and resided at the Palais Mancini in 1762. Upon his return, he continued his apprenticeship with Ange-Jacques Gabriel before starting a career in the service of financiers of the Ancien Régime. This mostly Protestant clientele offered him the opportunity to carry out various projects in Paris, in thenorth-east of the kingdom, as well as in Switzerland. The last years of the reign of Louis XVI, marked by the accession of Jacques Necker to the Directorate General of Finance, was a propitious time in his career. Given thekingdom’s worsening political and financial situation, however, his two public commissions from this time (the Royal square of Brest and the Paris headquarters of the Caisse d’Escompte) were never built. After a brief engagement in political life in the early days of the Revolution, he was employed by the Public Works Commissionand subsequently became an architect of civil buildings under the Directory. With this post, which he held until his death in 1806, he finally gained something of the official status and legitimacy that had long eluded him
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Schneider, Marlen. "„Belle comme Vénus‟ : das portrait historié zwischen Grand Siècle und Zeitalter der Aufklärung." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20031.
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Très apprécié et répandu pendant la deuxième moitié du XVIIe siècle et les premières décennies du XVIIIe, le portrait historié fut un phénomène caractéristique de la société de cour, révélateur des pratiques artistiques et culturelles de ce milieu. Partout en Europe et surtout en France, l’élite sociale se faisait peindre en costume de fantaisie mythologique ou historique par des peintres célèbres tels que Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier ou Jean Raoux. Figurant encore parmi les desiderata de l’histoire de l’art, l’étude scientifique exhaustive du portrait historié peut toutefois contribuer à la recherche sur le portrait français de l’Ancien Régime en général. Afin de définir la place particulière qui prenait ce type de portrait dans le monde artistique, culturel et sociale de l’époque, nous avons établi une historiographie qui tient compte 1) des innovations iconographiques et formelles du genre, 2) des rapports culturels changeants de ces portraits, 3) de leurs fonctions sociales, et 4) des réactions du public et de la critique d’art à partir du milieu du XVIIIe siècle. Face au discours des Lumières et avec la crise de la monarchie absolutiste en France, ses expressions culturelles et artistiques perdirent leur légitimation, et notamment le portrait historié, étroitement lié aux principes mêmes et aux convictions de la société de cour<br>The portrait historié was one of the most characteristic and revealing phenomena of French court society, closely relying on this particular milieu’s artistic and cultural practices, and was thus very much appreciated during the second half of the seventeenth century and the first decades of the eighteenth century. Members of the social elites all over Europe and especially in France chose to sit in mythological or historicized costumes for renowned artists such as Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier or Jean Raoux. An extensive study of this particular kind of portraiture, which is still one of the desiderata in art historical research, might generally contribute to scientific research on French portraits from the Ancien Régime. In order to define the artistic, cultural and social impact and status of portraits historiés, the thesis examines the institutional, iconographic and formal evolution of the genre, its cultural context and influences, its social functions, as well as its reception in 18th century public sphere and especially in the context of enlightened discourse. Resulting from the moral and esthetic principles of court society, these cultural and artistic expressions derived from the absolutist French monarchy lost their legitimation during a period of political and social change and revolution
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"The function of western music in the eighteenth-century Chinese court." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074369.
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During the reign of Kangxi (r. 1662-1722), the second Manchu emperor of the Qing dynasty (1644-1911), Western music began to take root in the Manchu court. There is abundant evidence that the missionaries performed Western music before Kangxi and the emperor looked upon the Jesuits Ferdinand Verbiest (1623-1688) and Tomas Pereira (1645-1708) as his music tutors. In 1713, Kangxi commissioned a treatise on music, Yuzhi Lulu zhengyi (A True Doctrine of Music, by Imperial Authority), which was completed in 1714. Begun by Pereira but completed by the Italian Lazarist Paolo Felipe Teodorico Pedrini (c. 1670-1746), the third part of this musical treatise Xieyun duqu, is devoted exclusively to Western music theory. This treatise is the earliest official Chinese source concerning Western music theory.<br>Evidence that Western theoretical writings were included in Lulu zhengyi raises an important question: why did Kangxi demand that Western music theory be incorporated within his imperial treatise? There are only a limited number of studies on Western music in the early Qing court, and this research fills in a serious lacuna. This study will argue that it is not simply due to Kangxi's open mind and fondness for European knowledge that leads to the incorporation of Western music theory in Lulu zhengyi. Kangxi's goal was to use Western music as a tool to restore the lost Chinese ancient music.<br>The reign of Kangxi witnessed the elevation of Western music in the Qing court. After the reign of Kangxi, Western music continued to be performed at the court, however, its prestige diminished, and it served solely as entertainment for the emperors. Indeed, in Yongzheng's preface to Luli yuanyuan (1723), Western music theory was regarded as that of the Western barbarian. Later, when Qianlong ordered the compilation of the sequel to Lulu zhengyi in 1741, no Western music was included.<br>Chiu, Wai Yee Lulu.<br>"May 2007."<br>Adviser: Michael Edward McClellan.<br>Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 0020.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2007.<br>Includes bibliographical references (p. 186-219).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in English and Chinese.<br>School code: 1307.
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"符羅飛(1897-1971): 20世紀的中國藝術與革命". 2013. http://library.cuhk.edu.hk/record=b5549694.
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本論文選取畫家符羅飛（1897-1971）進行研究，旨在通過文字及圖像史料復原這一被視作“歷史失蹤者的藝術家個案，並將其放在20 世紀中國藝術與革命互動關係的語境中進行考察。文章依據時序及符羅飛活動地點與内容的變化，分爲五個章節，結合文獻考據、視覺分析及藝術社會學等研究方法，分別探討他於20 世紀20 至60 年代在上海、意大利、香港及華南等地的藝術創作與社會活動，並著重觀察這位以藝術積極投入社會革命、且擁有明確政治信仰的畫家及其代表的群體，是如何通過主動轉變藝術面貌，從而與20 世紀中國社會的大變動連成一體。本文認爲：符羅飛於抗戰期間攜傾向古典寫實的那不勒斯畫派畫風及自創的水墨寫生歸國，但其藝術救國活動最初並未達至理想效果；直到40 年代中期才在通過不斷地寫生、辦展，逐漸吸收國統區漫畫與木刻中流行的德國表現主義元素，脫胎出具有強烈視覺刺激和道德感召力、又符合中共革命訴求的代表性藝術面貌，在特定的政治人群中得到廣泛承認，在此過程中輿論因素的影響不可忽視；同時，他的彩墨實驗等游離於政治目標之外的藝術活動打破了“革命畫家"的刻板印象；而他在政權鼎革後因未能適應高度一元化的藝壇新秩序而湮沒於混亂時世的最終命運，又折射出五四以來自由知識分子傳統與中共黨文化之間不可調和的矛盾。<br>This thesis is a monographic study on the artist Fu Luofei (1897-1971), aiming to reconstruct his life and art with textual and visual historical materials, with focus on the interaction between art and revolution in the twentieth-century China. The five chapters of this thesis examine Fu’s artistic and social activities in Shanghai, Italy, Hong Kong and South China from the 1920s to 1960s chronologically, and mainly investigate how this artist, who had definite political belief and was willing to devote his art to social revolution, involved in and acted on the transformation of Chinese society in the twentieth century through continuously transforming his artistic styles.<br>As this study demonstrates, Fu brought back from Italy the representational painting style of the Neapolitan School and the achievement of his ink experiment in the late 1930s. However, his attempt on “saving the nation by art" did not succeed until mid-1940s. At that time, Fu established his signature style by absorbing the visual elements of German Expressionist paintings, one of the prevailing styles for cartoons and woodcut prints in the Kuomintang ruled areas. His signature style, which was strong in visual stimulation as well as in moral and emotional appeal, was developed through unceasing exchanges with the leftist critics and echoed with the political demand of the Chinese Communist Party. Meanwhile, as is rarely known, Fu also painted in the form of traditional guohua (Chinese national painting), which reveals a not-so-revolutionary side of the “revolutionary artist". His tragedy after the establishment of the People’s Republic vividly illustrates the irreconcilable conflicts between the May Fourth tradition of intellectual independence and the political culture of the CCP.<br>Detailed summary in vernacular field only.<br>陳鶯.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.<br>Includes bibliographical references (leaves 294-307) and index.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Chen Ying.<br>導言 --- p.1<br>Chapter 第一章 --- 留學意大利（1930-1938） --- p.12<br>Chapter 第一節 --- 文獻回顧：留意傳奇與疑問 --- p.12<br>Chapter 第二節 --- 歐遊前傳：上海美專及其它 --- p.17<br>Chapter 第三節 --- 那不勒斯：特殊的選擇 --- p.22<br>Chapter 第四節 --- 美術學院内外 --- p.29<br>Chapter 第五節 --- “求真"與“人情"：學院傳統及留意畫作 --- p.49<br>Chapter 第六節 --- 東方學院：在中意之間 --- p.67<br>Chapter 第七節 --- 歸國始末 --- p.84<br>Chapter 第二章 --- 一九三八年在香港（1938-1939） --- p.103<br>Chapter 第一節 --- 登場 --- p.103<br>Chapter 第二節 --- 抗戰救國理想的首次實踐 --- p.107<br>Chapter 第三節 --- 中國筆作西洋畫 --- p.117<br>Chapter 第四節 --- 社會網絡：文化人、政經界及同鄉會組織 --- p.127<br>Chapter 第五節 --- 結果與現實 --- p.135<br>Chapter 第三章 --- 從歐洲學院到中國現實（1939-1948） --- p.140<br>Chapter 第一節 --- 北上行蹤 --- p.140<br>Chapter 第二節 --- 風格改造：形式與内容 --- p.144<br>Chapter （一） --- 1941年桂林展 --- p.145<br>Chapter （二） --- 1943年“現實主義浪漫派"巡展 --- p.152<br>Chapter （三） --- 1946至1948年穗港展 --- p.158<br>Chapter 第三節 --- 代表性風格的面貌 --- p.164<br>Chapter （一） --- 代表性風格的兩種類型 --- p.165<br>Chapter （二） --- 保留的與捨棄的 --- p.171<br>Chapter （三） --- 新風格形成期間所受之影響 --- p.173<br>Chapter 第四節 --- 風格選擇的成因：表現主義與中國“現實" --- p.180<br>Chapter 第四章 --- 重訪香江（1947-1949） --- p.189<br>Chapter 第一節 --- 再度居港與文化人南下潮 --- p.188<br>Chapter 第二節 --- 人間畫會：組織結構及主要活動 --- p.193<br>Chapter 第三節 --- 左翼文藝標準的強化 --- p.202<br>Chapter 第四節 --- “國畫"：代表性風格以外的藝術嘗試 --- p.210<br>Chapter 第五節 --- 短暫的美國夢 --- p.218<br>Chapter 第六節 --- 迎接新中國 --- p.226<br>Chapter 第五章 --- 政治氣候的轉變（1949-1971） --- p.235<br>Chapter 第一節 --- 從體制外到體制内 --- p.235<br>Chapter 第二節 --- 過渡時期：以舊風格唱新語句 --- p.241<br>Chapter 第三節 --- 代表性畫風的瓶頸 --- p.249<br>Chapter 第四節 --- 描繪新生活 --- p.257<br>Chapter 第五節 --- 傳奇落幕 --- p.265<br>Chapter 結語 --- 自畫像：個人命運與時代洪流 --- p.271<br>中文參考文獻 --- p.294<br>外文參考文獻 --- p.304<br>Chapter 附錄一 --- 符羅飛藝術活動年表 --- p.308<br>Chapter 附錄二 --- 人名索引 --- p.321<br>圖版目錄 --- p.329<br>圖版 --- p.351
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"Art, new culture, and women: the reception of the pre-raphaelites in China." Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888331.
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by Linda Pui-ling Wong.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 1995.<br>Includes bibliographical references (leaves 277-299).<br>Acknowledgements --- p.i<br>Abstract --- p.iii<br>Abbreviations --- p.v<br>Chapter Chapter One --- Chinese Modernity Reconsidered --- p.1<br>Chapter Chapter Two --- The Presence of the Pre-Raphaelites in China --- p.21<br>Chapter Chapter Three --- The Cross-cultural Counterparts: The Pre-Raphaelite Brotherhood and the Crescent Moon Society in China --- p.44<br>Chapter Chapter Four --- "New Images of Lovers: Chinese Adaptations of Dante Rossetti's ""The Blessed Damozel""" --- p.66<br>Chapter Chapter Five --- The Lyrical and Melancholic Women: The Reconstruction of Christina Rossetti --- p.132<br>Chapter Chapter Six --- Utopian Thinking in May Fourth China: The Rise of William Morris --- p.152<br>Chapter Chapter Seven --- A Patriotic Model for Modern China: The Early W.B. Yeats as a New Romantic --- p.172<br>Chapter Chapter Eight --- "The Chinese ""Decadents"": Indebtedness to Algernon Swinburne, Aubrey Beardsley and Oscar Wilde" --- p.193<br>Chapter Chapter Nine --- "The ""Fleshly School of Poetry""in China?" --- p.244<br>rllustrations --- p.272<br>Glossary --- p.274<br>Bibliography --- p.277
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Caffey, Stephen Mark 1962. "An heroics of empire : Benjamin West and Anglophone history painting, 1764-1774." 2008. http://hdl.handle.net/2152/17949.
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This dissertation interrogates correlations between imperial expansion and the history paintings produced for London audiences by the American-born artist Benjamin West (1738-1820) during his first decade in England (1764-1774). Within that ten-year span, Grand Manner academic history painting shaped and reflected the imperial anxieties that elite Britons experienced as a result of dramatic territorial gains, consolidations and losses in North America and South Asia. To follow the trajectory of history painting’s rise, relevance and obsolescence is to track Britons’ negotiation of their global status as a “free though conquering people.” As England’s pre-eminent history painter, West secured for himself a place within the discourses of the imperial self-imaginary by developing two types of iconographic program. First, the selective appropriation of narratives from classical antiquity allowed West and his patrons to inculcate their audiences with visual models for British imperial virtue. Advancing the cause of imperial self-ratification through classical narrative, West cast the English as the natural heirs to the Roman empire. The resulting images paralleled and buoyed contemporary textual discourses of empire and intersected with antiquarian collecting practices, both of which were based on the notion of modern British proprietorship of classical antiquity. Second, developing and refining a model introduced by Francis Hayman (1708-1776) at Vauxhall Pleasure Gardens in 1761, West contrived a pictorial format which introduced persons living and recently dead into a realm of visual expression formally reserved for characters from biblical and classical textual sources. Invoking some of history painting’s most familiar compositional and figural conventions, West recombined history painting, portraiture, landscape and genre to formulate the iconographically hybrid heroics of empire, complete with its own set of pictorial motifs through which West and his followers styled their subjects exemplars of classical imperial virtue. Imperial anxiety afforded history painting its short-lived relevance among English-speaking audiences during the second half of the eighteenth and first quarter of the nineteenth centuries, and imperial self-acceptance rendered that most highly-esteemed of artistic genres obsolete. Through the visual heroics of empire, Benjamin West established history painting as a viable form of Anglophone cultural production during his first decade in London.<br>text
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"王世貞(1526-1590)藝術贊助的研究". Thesis, 2006. http://library.cuhk.edu.hk/record=b6074331.
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Chapter 1 reviews the background to the rise of art patronage studies and their development and its influence on studies of Chinese art history. It also provides alternative approaches to studying activities related to patronage and their influence and role in Chinese art history by criticising traditional analysis of Chinese art based on social and economic theories.<br>Chapter 2 examines the life of Wang and explores the intentions and meaning to his patronage activities through studying his political involvement, literary activities and his social background and connections.<br>Chapter 3 discusses how Wang, given his knowledge in history and passion for art and its collection, reinterprets art history with reference to his private collection of art, and thereby consolidating his status as a leading figure of literary and cultural circle of his time.<br>Chapter 4 explains and reflects on the formation of the "artist-patron" relationship through examining the relationship and interaction between Wang and the literary circle and by appraising the financial background and standing of artists and calligraphers at the time.<br>Chapter 5 examines the direct impact that Wang, as a literary leader and patron of the art, has on the styles and subject matter of art work by examining and decoding several pieces of art commissioned by himself, thus revealing a distinct mechanism in which art was produced at the time.<br>Chapter 6 discusses the "artist-patron" relationship and the "trading of cultural resources" by examining diverse pieces of art work given to Wang as gifts by different individual artists and calligraphers.<br>Chapter 7 analyses the significance of the patronage activities of Wang and provides a new approach to understanding the issue of traditional Chinese art patronage in Chinese art history.<br>Through a case study of the life of Wang Shizhen, this research attempts to analyse the influence of literary leader and patron of the arts on the development of painting and calligraphy during the mid-Ming period. By analysing the "artist-patron" relationship, this paper attempts to explain alternative mechanism through which traditional Chinese art was produced. The thesis also examines art patronage activities in Suzhou during the sixteenth century and thereby attempts to examine these activities from the broader cultural and historical context at the time. This paper is divided into seven chapters:<br>鄧民亮.<br>論文(哲學博士)--香港中文大學, 2006.<br>參考文獻(p. 298-320).<br>Advisers: Tsung-i Jao; Kar Leung Mok.<br>Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0378.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>School code: 1307.<br>Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.<br>Can kao wen xian (p. 298-320).<br>Deng Minliang.
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Bae, Kyoungjin. "Joints of Utility, Crafts of Knowledge: the Material Culture of the Sino-British Furniture Trade during the Long Eighteenth Century." Thesis, 2016. https://doi.org/10.7916/D8GX4BR6.
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This dissertation examines the material culture of the Sino-British furniture trade in the eighteenth and early nineteenth centuries. In the beginning of the eighteenth century, the British East India Company began importing a large quantity of furniture made in Canton (Guangzhou), China. As the trade between Britain and China became standardized around 1720, this furniture became a part of the private trade carried out by merchants associated with Company. Unlike other objects of the China trade that fed into the vogue of chinoiserie, export furniture crafted with hardwoods from the Indian Ocean was produced in European designs of the time and thus was often indistinguishable from its Western counterparts. What cultural and economic values did export furniture represent in the early modern maritime trade and how did it reify the trans-regional movement of knowledge and taste between China and Britain? Going beyond the conventional perspective on export Chinese objects oriented toward European reception, I connect production with consumption in order to follow the trajectory of export furniture from its origins in the intra-Asian timber trade to its requisition and manufacture in Canton to its reception and use in both Britain and China, highlighting how this process linked the disparate spheres of commerce, knowledge production and distribution, and cultural practices. In the course of exploring these multiple dimensions of the object’s material life, this dissertation underscores export furniture’s bicultural and transcultural characteristics.
Utilizing diverse sets of visual, material, and textual sources, each chapter of the dissertation investigates different aspects of the movement of furniture as an assemblage. Chapter 1 reconstructs the itinerary of export furniture as a commodity from the EIC timber trade between India and China to the ordering and shipping of the furniture for the British market. I show how the character of export furniture was shaped by the constraints of space and the economic, environmental, and epistemic contingencies of long distance travel and communication. Chapter 2 examines the influence of imported Asian rosewood – an important cabinet timber from which most hardwood Chinese export furniture was made – on early modern British arboreal knowledge. If the knowledge of rosewood in the seventeenth century was grounded in classical texts that defined it as a subshrub growing in the eastern Mediterranean region, in the eighteenth century the term came to refer to a hardwood species imported from tropical Asia. I argue that this change allowed rosewood to obtain a new status as a universal category in the botanical taxonomy, which collected, pruned, and ordered heterogeneous cultural and natural information associated with it into a neatly classified “cabinet” of universal knowledge.
Chapter 3 returns to Canton to investigate Cantonese cabinetmakers and the production of export furniture. By reading the joinery of extant export furniture pieces, I show how Chinese artisans recreated foreign forms by mobilizing their embodied knowledge of craft rather than by imitating European joinery constructions. The details of this material translation not only reflect the flexibility and resilience of traditional Chinese craft but also illuminate the tacit knowledge and craft patterns of early modern Chinese artisans. Chapters 4 and 5 turn to the domain of consumption in Britain and China, respectively. Chapter 4 explores how Chinese cabinets were experienced in early modern Britain. Comparing lacquered and hardwood display cabinets, I show that Chinese cabinets were not just exotic objects; they played an active role in the evolution of the cabinet as a type of furniture in the domestic material culture and created an affective space both within themselves and in their ambient space that invited the bodily experience and imagination of the user-beholder. The final chapter examines the movement and adaptation of European round tables in mid-Qing Chinese material culture. Introduced by European mariners to Canton, the round tables quickly found their niche in local everyday life and eventually spread beyond Guangdong. I show how they partook in the formation of a new social dining practice that conveyed a new political vision of equality. As a whole, my dissertation argues that export furniture was a Eurasian object that embodied cross-cultural knowledge of craft and nature, and engendered new ideas of utility and sociability.
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"未完成的文化霸權: 國家理論視野下的上海大世界, 1949-1966". Thesis, 2011. http://library.cuhk.edu.hk/record=b6075175.
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This extended case analysis thus demonstrates the intricate relationship between complex state capacities and cultural hegemony. It aims to deepen our understanding of the cultural history and state nature of Mao's China; theoretically, it aims to bring the state back into the cultural analysis based on a more solid foundation of state theory and provide a reference case for applying state theory to analyze cultural and other issues.<br>This research is an empirical analysis of the cultural hegemony pursued by Mao's China (1949-1966) in the field of mass culture. Based on the empirical research of this study, and inspired by the perspective of "Bringing the State back in" School, and the "State in Society" theory as well, this research put forth the theoretical perspective of "Complex Vision of State Capacities", which highlights the uneven-ness of state capacities in different fields and different aspects of the same field, and emphasizes that we should pay attention to both the strong state capacities, weak state capacities, the paradox of strong state capacities, the conflict between different state projects and the influence of "policy feedback" on state capacities. Based on the Extended Case Method, this research selects the Dashijie Amusement Center in Shanghai as the subject of research. It analyzes how the new regime effectively took over and transformed Dashijie, and meanwhile, demonstrates that under the influence of the complex state capacities, Dashijie gradually lost its original characteristics as an amusement center, and became more and more similar with Workers' Club. This phenomenon is called as cultural isomorphism. Negotiational hegemony to some extent alleviated this situation of cultural isomorphism, while zero-sum hegemony exacerbated it. With this development, the number of audience of Dashijie dropped a lot, which implies the predicament of cultural hegemony in the field of mass culture pursued by the totalistic state. Following the methodological perspective of the Extended Case Method, and also inspired by Bourdieu's theory of cultural field, this research further analyzes the evolution of Shanghai Bureau of Cultural Affairs. It demonstrated that, compared with the Nationalist Government, the new regime took further step in state building in the field of mass culture, advancing the bureaucratization of cultural administrative apparatuses and penetrating the state power into the cultural field at the grass-roots level. On the other hand, this research also reveals that the new regime is constrained by the weak state capacities in financial resources, human capital, sufficient bureaucratization, and the limitation of state capacities in the heterogeneity of the masses and the asynchronous-ness of structural transformation. As a result, the state capacity of the totalistic state in eradicating the production and circulation of the old mass cultural products is relatively strong and thus relatively successful, while the state capacity in constructing a new socialist mass culture, which was expected to be widely accepted by the masses, is relatively weak and thus relatively unsuccessful. In the view of "Complex Vision of State Capacities", negotiational hegemony reflected the recognition of complex state capacities, and it was thus necessary and beneficial for the state project of cultural hegemony; while the zero-sum hegemony reflected lack of recognition of or even did not accept the situation of complex state capacities, and thus exacerbated the situation of cultural isomorphism, leading to the final predicatement of cultural hegemony.<br>肖文明.<br>Adviser: Hoi-man Chan.<br>Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (p. 323-339).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Xiao Wenming.
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"浙江禦倭、薊鎮練兵、朝鮮抗日: 戚繼光軍事革命之考察 = Fighting Wako, training army, and defending Korea : a study on Qi Jiguang's military revolution in sixteenth-century Ming China". 2015. http://library.cuhk.edu.hk/record=b6115390.
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本文擬以西方「軍事革命」理論的角度，探討萬曆朝鮮戰爭時期，明軍薊鎮部隊的作戰表現。戚繼光「軍事革命」獨特之處在於，除訓練單兵作戰技巧外，亦重視部隊戰術隊型、協同作戰及指揮系統。從對抗倭寇時的步兵鴛鴦陣開始，至薊鎮抗虜時發展出步兵、騎兵、車兵、炮兵的協同作戰，是戚繼光「軍事革命」的主要元素。「戚家軍」戰鬥力之強勁，即根源於此。得益於戚繼光「軍事革命」的薊鎮部隊，是當時被成為「南兵」的主要部隊之一，在朝鮮戰場上更大放異彩，作戰表現遠勝明軍中的北兵。<br>This thesis studies the performance of the Jizhen(薊鎮) Army during the Korean War (1592-1598) from the perspective of the "Military Revolution" theory. It argues that the Qi Jigunag revolutionized the training of the Ming army by focusing more on tactical formation, on coordination among different forces, on improving the commanding system, and also on more practical and united training of soldiers. As a result, the Ming army from Jizhen, also known as "the Southern Army", trained by the Qi Jiguang model, excelled in the Korean theatre by their military prowess and their good discipline and distinguished themselves from the more unruly and less competent Ming forces from the Northeast.<br>Detailed summary in vernacular field only.<br>葉家銘.<br>Parallel title from English abstract.<br>Thesis (M.Phil.) Chinese University of Hong Kong, 2015.<br>Includes bibliographical references (leaves 95-99).<br>Abstracts also in English.<br>Ye Jiaming.
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Viggiani, Daniela. "L’edizione dell’Abecedario Pittorico di Pellegrino Antonio Orlandi, aggiornata da Pietro Maria Guarienti (1753), una fonte per la storia dell’arte portoghese." Thèse, 2016. http://hdl.handle.net/1866/19294.
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McCutcheon, Shawn. "Winckelmann et ses désirs (presque) secrets : amour entre hommes et idéaux de la masculinité à l’ère néoclassique (1755-1768)." Thèse, 2014. http://hdl.handle.net/1866/11952.
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L’étude des œuvres et de la correspondance de Johann Joachim Winckelmann, produites entre 1755 et 1768, offre un regard nouveau sur l’amour entre hommes au 18e siècle et sur sa relation à la construction de la masculinité. Le cas de Winckelmann illustre le caractère construit et changeant de l’érotisme. En effet, l’influence de l’exemple hellénique est visible dans le fantasme homoérotique qu’il élabora dans ses œuvres dans le but de s’expliquer ses désirs. L’Antiquité, par son autorité culturelle, représenta un espace relativement sécuritaire où Winckelmann put exprimer sa sensibilité homoérotique à laquelle le contexte occidental était alors très défavorable : la littérature antique exaltait l’affection entre hommes et sa statuaire, le corps masculin nu. Le fantasme que fit Winckelmann fut capital pour sa compréhension et la justification de ses relations avec d’autres hommes, surtout après son arrivée en Italie en 1755. Loin de se cantonner à la répression de l’homoérotisme par la société européenne des Lumières, le cas de Winckelmann en illustre le potentiel d’intégration partielle. En effet, l’originalité de Winckelmann tient à sa façon de communiquer ses idéaux homoérotiques dans des textes savants, tout en rendant sa perception du beau masculin et son amour des hommes socialement acceptables. Enfin, plusieurs indices dans les œuvres et la correspondance de Winckelmann portent à penser qu’il était conscient de sa différence et qu’il se constitua entre 1755 et 1768 une communauté discrète d’hommes aussi sensibles aux désirs homoérotiques.<br>Studying the works and letters of Johann Joachim Winckelmann written between 1755 and 1768 gives new insights on love between men in the 18th century and on its relation to the construction of masculinity. The case of Winckelmann illustrates the constructed and changing nature of eroticism: the influence of the Hellenic example is visible in the homoerotic fantasy that Winckelmann used to interpret his desires. Antiquity, given its cultural authority, represented a relatively safe space where Winckelmann was able to express his homoerotic sensibility to which the western context was hostile. Greek literature exalted the display of affection between men and its statuary, the nude male body. This fantasy would later prove to be the capital in Winckelmann’s comprehension and justifications of his relations with other men in Italy after 1755. Far from being confined to the repression of homoeroticism by the 18th century European society, the case of Winckelmann illustrates its potential for partial integration. The originality of Winckelmann lies in the way he used to communicate his homoerotic ideas in scholarly texts while rendering them socially acceptable. Finally, several clues in his works and letters bear to think that Winckelmann was aware of his difference and that between 1755 and 1768 he created for himself a discrete community of men also sensitive to homoerotic desires.
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Hesse, Angelika. "Eichendorffs Kritik romantischer Fehlentwicklungen." Diss., 1998. http://hdl.handle.net/10500/16941.
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Summary in English<br>Romanticism as a broad movement of thought developed
as a reaction against rationalism and empiricism in the period
of Enlightenment. In his critical evaluation of Getman
literature Eichendorff as a historian exammes the
excessiveness of esoteric theories in the work of the young
intellectuals of the early romantic period in Getmany. The
romanticists' idealist celebration of the self, and their tendency
to overestimate the power of the imagination and the supreme
value of art led to self-adulation and subjectivism which was
unacceptable to Eichendorff s understanding of art and
religion. The "romantic" attempt at creating a new mythology
usmg art as a new kind of religion and thereby making the
poet an omnipotent creator could only be rejected by
Eichendorff whose moral convictions were strongly based on
Christian Catholic beliefs. The young romanticists replaced
ethics with aesthetics. Eichendorffs judgement of this
development is devastating. He describes the early romantic
movement as a "premature abortion".<br>Classics and Modern European Languages<br>M.A. (German)
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"現代中國繪畫中的毛澤東圖像". 1998. http://library.cuhk.edu.hk/record=b5896285.
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羅欣欣.<br>論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998.<br>附參考文獻.<br>中英文摘要.<br>Luo Xinxin.<br>序言 --- p.1<br>論文摘要 --- p.2<br>插圖目錄 --- p.5<br>緒論 --- p.14<br>Chapter 第一章 --- 中共建國前的毛澤東繪畫圖像(1927-1949)<br>Chapter I. --- 毛澤東政治地位的確立 --- p.28<br>Chapter II. --- 土地革命戰爭時期(1927-1937)：毛澤東繪畫圖像的起源 --- p.30<br>Chapter III. --- 抗口戰爭時期(1937-1945)的毛澤東繪畫圖像發展 --- p.31<br>Chapter 1 . --- 魯藝木刻工作團的成立1938 --- p.32<br>Chapter 2. --- 晉西北木刻工廠1941 --- p.33<br>Chapter 3. --- 《延安文藝座談會上的講話》1942 --- p.34<br>Chapter 4. --- 赤色郵政 1944 --- p.40<br>Chapter 5. --- 中共黨報 1945 --- p.41<br>Chapter IV. --- 全國解放戰爭時期(1945-1949)的毛澤東繪畫圖像發展 --- p.43<br>小結 --- p.47<br>Chapter 第二章 --- 中共建國後的毛澤東繪畫圖像(1949-1966)<br>Chapter I. --- 中華人民共和國成立初年的毛澤東繒畫圖像發展 --- p.53<br>Chapter 1. --- 中華人民共和國的成立194 9 --- p.53<br>Chapter a. --- 延安藝術傳統的毛澤東漫畫圖像 --- p.54<br>Chapter b. --- 王朝聞的繪畫領袖像指示 --- p.56<br>Chapter 2. --- 土地改革 1950-1952 --- p.59<br>Chapter a. --- 新年畫創作運動 --- p.59<br>Chapter 3. --- 建國初年的整黨整風1950-52 --- p.66<br>Chapter a. --- 革命歷史畫創作計劃 --- p.67<br>Chapter II. --- 中蘇親密外交下的毛澤東繪畫圖像發展 --- p.70<br>Chapter 1. --- 全盤蘇化1950-55 --- p.70<br>Chapter a. --- 蘇聯宣傳畫的影響 --- p.70<br>Chapter b. --- 蘇聯油畫的影響 --- p.72<br>Chapter c. --- 蘇聯領袖像選材的影響 --- p.74<br>Chapter III. --- 中共社會經濟改革下的毛澤東繪畫圖像發展 --- p.76<br>Chapter 1. --- 第一個五年計劃1953-1957 --- p.76<br>Chapter a. --- 中國畫的改造 --- p.78<br>Chapter b. --- 油畫民族化 --- p.81<br>Chapter 2. --- 大躍進及人民公社運動1958-60 --- p.84<br>Chapter 3. --- 社會主義教育運動1962-65 --- p.88<br>Chapter a. --- 革命歷史繪畫運動 --- p.59<br>小結 --- p.91<br>Chapter 第三章 --- 文革時期的毛澤東繪畫圖像(1966-1976)<br>Chapter I. --- 文化大革命發動的原因 --- p.105<br>Chapter 1. --- 文化大革命序幕：海瑞罷官1965 --- p.105<br>Chapter 2. --- 毛澤東個人崇拜 --- p.107<br>Chapter II. --- 文革時期毛澤東繪畫圖像的發展 --- p.107<br>Chapter 1. --- 紅衛兵運動1966 --- p.107<br>Chapter a. --- 紅衛兵藝術 --- p.108<br>Chapter b. --- 《毛澤東思想照亮安源工人革命運動展覽》 --- p.113<br>Chapter c. --- 「紅、光、亮」的藝術手法 --- p.115<br>Chapter 2. --- 工農兵領導下的文化大革命1969 --- p.117<br>Chapter a. --- 工農兵繪畫運動 --- p.118<br>Chapter 3. --- 毛澤東的親密戰友一林彪的叛變1971 --- p.124<br>Chapter 4. --- 毛澤東的接班人一華國鋒1976 --- p.125<br>小結 --- p.126<br>Chapter 第四章 --- 文革後及改革開放時期的毛澤東繪畫圖像(1976-1997)<br>Chapter I. --- 文革後的毛澤東繪畫圖像發展 --- p.132<br>Chapter 1. --- 後文革時期的藝術1976-1978 --- p.132<br>Chapter a. --- 《熱烈慶祝華國鋒同志任中央主席、中央軍委主席 、熱烈慶祝粉碎四人幫篡黨奪權陰謀的偉大勝 利全國美術作品展覽》 --- p.133<br>Chapter b. --- 《慶祝中國人民解放軍建軍50周年美術作品展覽》 --- p.134<br>Chapter c. --- 毛主席紀念堂的落成 --- p.136<br>Chapter d. --- 《毛主席永遠活在我們心中´ؤ毛主席逝世一周 年美術作品展覽》 --- p.137<br>Chapter 2. --- 傷痕藝術1978-1979 --- p.139<br>Chapter 3. --- 星星美展1979-1980 --- p.140<br>Chapter II. --- 改革開放時期的毛澤東繪畫圖像發展 --- p.141<br>Chapter 1. --- 美術新思潮下的毛澤東圖像 --- p.141<br>Chapter a. --- 後八九的中國新藝術一政治波普中的毛澤東圖像 --- p.143<br>Chapter b. --- 毛澤東藝術圖像的拍賣熱潮 --- p.151<br>Chapter 2. --- 宮方持續創作的毛澤東繪畫圖像 --- p.152<br>小結 --- p.156<br>結語 --- p.161<br>附錄一 ：1.中國藝術史中毛澤東書法圖像的社會文化意義 --- p.1-1<br>2.美術展覽中的毛澤東繪畫圖像畫目 --- p.1-6<br>附錄二：參考書目 --- p.2-1<br>附錄三：現代中國藝術史中毛澤東繪畫圖像畫目 --- p.3-1<br>附錄四：圖版 --- p.4-1
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Dupuis, Patrik. "L'influence caravagesque dans l'art de Jacques-Louis David." Thèse, 2013. http://hdl.handle.net/1866/10297.
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Ce mémoire de maîtrise est consacré à un aspect peu étudié de l'art de Jacques-Louis David, c'est-à-dire l'influence caravagesque dans les œuvres de l'artiste. Les différentes périodes de la production de l'artiste sont étudiées en fonction d'identifier cette influence et la façon dont elle s'est manifestée. Cette influence est apparue à partir de la deuxième moitié du 18e siècle dans la peinture française pendant une période de réforme de l'art pictural. Jacques-Louis David n'est pas le seul artiste à s'être intéressé au caravagisme. L'intérêt pour Caravage et ses suiveurs coïncidait aussi avec un intérêt pour le naturalisme et le dessin d'après nature. Le maître de David, Joseph-Marie Vien, a joué un rôle important dans la promotion de ces deux notions. C'est lors de son premier voyage en Italie avec son maître Vien que Jacques-Louis David entra pour la première fois en contact avec le caravagisme. C'est à partir de ce moment que son oeuvre commença à se transformer alors que l'artiste s'affranchit de l'influence de la peinture rococo. Le Salon de 1781 qui suivra ce voyage sera un moment très important dans sa carrière et les œuvres qu'il y présenta étaient grandement marquées par le caravagisme, ce qui se manifeste par la couleur, la lumière et par le rendu naturaliste du corps. Le jumelage entre le naturalisme et l'idéalisme joue un rôle important dans la formation de l'esthétique davidienne. Après ce Salon, l'influence caravagesque s'exprimait de façon moins évidente dans son œuvre, mais elle était toujours présente et se manifestait plutôt par l'emprunt de motifs. Nous avons identifié cette influence jusqu'à la fin de la carrière de l'artiste. Nous voyons aussi dans ce mémoire que le rapport entre David et Caravage peut aussi être effectué par le biais d'une manifestation d'homosexualité et d'androgynie dans le travail des deux artistes. Ce mémoire n'est pas axé sur l'interprétation des œuvres, mais plutôt sur des analyses qui permettent de mettre en évidence l'influence caravagesque<br>This Master's Thesis deals with the influence of Caravaggio and his followers on french artist Jacques-Louis David, an aspect of his work that has not been studied much. The different periods of the artist's production are discussed in terms of identifying this influence and how it manifested itself. This influence has emerged from the second half of the 18th century in French painting during a reform period. Jacques-Louis David is not the only artist who got interested in the Caravaggesque tradition. The interest for Caravaggio and his followers coincides with an interest for naturalism and drawing from nature. David's master, Joseph-Marie Vien, played an important role in the promotion of these concepts. It is during his first trip to Italy with his master Vien that Jacques-Louis David first came into contact with Caravaggism. It is from that moment that a transformation could be observed in his work, as the artist was liberating himself from the rococo style. The 1781 Salon following his trip in Italy has been an important moment in his career and the Caravaggesque style greatly influenced the works he then presented. This influence could be observed in terms of colors, luminosity, and the naturalistic rendering of the body. The juxtaposition of naturalism and idealism played an important role in the shaping of the Davidian aesthetic. After this Salon, the influence of Caravaggism would not be has apparent in David's work, but still present, has designs and motifs were borrowed by the artist. We have identified this influence till the end of the artist's career. We also demonstrate in this thesis that the relationship between David and Caravaggio can also be established through a manifestation of homosexuality and androgyny in the work of both artists. This thesis is not based on the interpretation of the works, but rather on analyses that highlights the Caravaggesque style's influence.