Dissertations / Theses on the topic 'Art Europe History 18th century'
To see the other types of publications on this topic, follow the link: Art Europe History 18th century.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Art Europe History 18th century.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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/.
Full textAbstract:
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.
3
Gilbert, Bennett. "Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1872.
Full textAbstract:
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.
4
Jarrett, Nathaniel W. "Collective Security and Coalition: British Grand Strategy, 1783-1797." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984129/.
Full textAbstract:
On 1 February 1793, the National Convention of Revolutionary France declared war on Great Britain and the Netherlands, expanding the list of France's enemies in the War of the First Coalition. Although British Prime Minister William Pitt the Younger had predicted fifteen years of peace one year earlier, the French declaration of war initiated nearly a quarter century of war between Britain and France with only a brief respite during the Peace of Amiens. Britain entered the war amid both a nadir in British diplomacy and internal political divisions over the direction of British foreign policy. After becoming prime minister in 1783 in the aftermath of the War of American Independence, Pitt pursued financial and naval reform to recover British strength and cautious interventionism to end Britain's diplomatic isolation in Europe. He hoped to create a collective security system based on the principles of the territorial status quo, trade agreements, neutral rights, and resolution of diplomatic disputes through mediation - armed mediation if necessary. While his domestic measures largely met with success, Pitt's foreign policy suffered from a paucity of like-minded allies, contradictions between traditional hostility to France and emergent opposition to Russian expansion, Britain's limited ability to project power on the continent, and the even more limited will of Parliament to support such interventionism. Nevertheless, Pitt's collective security goal continued to shape British strategy in the War of the First Coalition, and the same challenges continued to plague the British war effort. This led to failure in the war and left the British fighting on alone after the Treaty of Campo Formio secured peace between France and its last continental foe, Austria, on 18 October 1797.
5
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/.
Full textAbstract:
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).
6
Berkovich, Ilya. "Motivation in the armies of old-regime Europe." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610794.
Full text
7
Sörlin, Per. "Trolldoms- och vidskepelseprocesserna i Göta hovrätt 1635-1754." Doctoral thesis, Umeå universitet, Historiska studier, 1993. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-65857.
Full textAbstract:
Extensive witchcraft trials took place in Sweden between the years 1668 and 1676. Approximately three hundred individuals were executed during a period of very few years. However, far more common were trials of a more modest nature, concerning minor magic and malevolent witchcraft without aspects of diabolism. The present dissertation deals with these minor cases, which have previously attracted very little academic interest. The source material for this study comprises 353 cases (involving 880 individuals), submitted to the Göta Royal Superior Court by informants during the period 1635-1754. The area of jurisdiction covered by the Göta Royal Superior Court embraced the southernmost areas of Sweden. This study discusses witchcraft and magic trials from three perspectives: 1. The elite perspective (the acculturation model); 2. The functionalistic conflict perspective; and 3. The systems-oriented perspective of popular magic. Ideologically and religiously coloured perceptions of magic became more pervasive at the same time as the number of trials increased. This was caused by central administrative measures, which broadened the opportunities for pursuing cases on the local level. However, the increased influence of the dite cannot be characterized as a conquest of folk culture by the elite. It is more adequate to speak of a movement of repression, originating in a state become all the more civilized. Death sentences were few and far between and most of the cases concerned minor magic. There existed no independent popular level such as emerges in the reports from the proceedings of the trials. People clearly differentiated between different types of malevolent witchcraft when standing before the courts. They were more likely to go directly to trial when the signs preceding their misfortunes hinted at magical activity (viewed as sorcery), than they were when suspicions against witches were based on threats made in conflict situations. Witchcraft which had its basis in conflict situations appears to have been more dependent upon first receiving encouragement in the form of obliging courts, before people would take their cases to trial. This has created a pattern which ostensibly makes it seem that the level of social tensions was low, so that people therefore appeared indifferent toward malevolent witchcraft. Just as illusory is the competing image of an uninfluenced popular perception of witchcraft which actually emerges in the Göta Royal Superior Court. However, this does not mean that the actions of individuals was characterized by an assimilation of the values of the dominant culture. Receptivity to the signals of the elite was certainly clear, but at the same time the responses indicate a great deal of independence. Popular participation in witchcraft trials took place without any prerequisite profound cultural transformations.digitalisering@umu
8
Dynner, Glenn. "Yikhus and the early Hasidic movement : principles and practice in 18th and 19th century Eastern Europe." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27940.
Full textAbstract:
Yikhus--the salient feature of the Jewish aristocracy--may be defined as a type of prestige deriving from the achievements of one's forbears and living family members in the scholarly, mystical, or, to a lesser degree, economic realms. Unlike land acquisition, by which the non-Jewish aristocracy preserved itself, yikhus was intimately linked with achievement in the above realms, requiring a continual infusion of new talent from each generation of a particular family.A question which has yet to be resolved is the extent to which the founders of Hasidism, a mystical revivalist movement that swept Eastern European Jewish communities from the second half of the eighteenth century until the Holocaust, challenged prevailing notions of yikhus. The question relates to the identities of Hasidism's leaders--the Zaddikim--themselves. If, as the older historiography claims, the Zaddikim emerged from outside the elite stratum, and therefore lacked yikhus, they might be expected to challenge a notion which would threaten their perceived right to lead. If, on the other hand, the Zaddikim were really the same scions of noble Jewish families who had always led the communities, they would probably uphold the value of yikhus. (Abstract shortened by UMI.)
9
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.
Full textAbstract:
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.
10
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.
Full text
11
Walker, Kathleen. "Chasing the Dragon's Tale: Europe's Fascination and Representation of the Dragon from the Twelfth to the Seventeenth Century." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437605968.
Full text
12
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.
Full text
13
Hennings, Jan. "Russian diplomatic ceremonial and European court cultures 1648-1725." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609625.
Full text
14
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.
Full text
15
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.
Full text
16
Rege, Adeline. "Les voyages en Europe de l’architecte Simon-Louis Du Ry : Suède, France, Hollande, Italie (1746-1777)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040173.
Full textAbstract:
De 1746 à 1756, l’architecte allemand d’origine huguenote Simon-Louis Du Ry voyagea en Suède, en Hollande, en France et en Italie pour apprendre son métier. Il retourna en Italie de 1776 à 1777. Lors de ses périples, Simon-Louis Du Ry a entretenu une intense correspondance avec sa famille. Il a tenu un journal de son second tour d’Italie. Ces manuscrits sont une source très précieuse pour l’histoire de la mobilité des artistes à l’époque Moderne. L’objet de cette thèse est d’analyser et d’éditer les récits de voyage de Simon-Louis Du Ry. Nous considérons le voyage comme une pratique individuelle obéissant à des contraintes sociales et matérielles, et comme un mode de perception du monde, des autres, du savoir et de soi-même. L’enjeu est de prendre en compte le voyageur en tant qu’individu, mais aussi l’environnement dans lequel il organise ses déplacements. Après avoir décrit ces périples (itinéraires, modes de transport et d’hébergement, activités du voyageur…), nous les comparons aux modèles de voyage en vogue à l’époque qu’étaient le Grand Tour, le voyage savant, et le voyage artistique. Nous nous attachons aussi à étudier la manière dont Simon-Louis Du Ry a relaté ses pérégrinations, ainsi que l’influence que ces voyages eurent non seulement sur la carrière de cet architecte, mais aussi sur son milieu d’origine, c’est-à-dire le landgraviat de Hesse-Cassel au siècle des Lumières. L’édition critique des récits de voyage de Du Ry que nous proposons est accompagnée d’un apparat critique constitué de notes et de trois index : toponymique, biographique et thématiqueFrom 1746 to 1756, Simon-Louis du Ry, the German architect with Huguenot roots, traveled to Sweden, Holland, France, and Italy to learn a trade. He returned to Italy from 1776 to 1777. During his travels, Simon-Louis du Ry maintained an intense correspondence with his family. He kept a diary of his second trip to Italy and these manuscripts are a very valuable source for the history of the mobility of artists in the Modern era. The purpose of this thesis is to analyse and edit Simon-Louis Du Ry’s travel writings. We consider travel an individual experience which is limited by material and social issues, and a way of understanding the world, others, knowledge and oneself. Our challenge is to take account of the traveler as a person, but also of the environment in which he organizes his travels. After describing these journeys (including routes, transport and accommodation, and traveler’s activities), we compare them with the travel patterns in vogue at that time: the Grand Tour, the scholar’s travel, and the artist’s travel. We aim to explore how Simon-Louis Du Ry has described his travels and the influence that his journeys have had, not only on his architectural career, but also on his cultural background, i.e. the landgraviate of Hesse-Kassel during the Enlightenment. The critical examination of Du Ry’s travel books that we offer is accompanied by a critical apparatus consisting of notes and of three indexes: geographical names, biographical names, and subjects
17
Cox, Christopher R. "Synthesizing the Vertical and the Horizontal: A World-Ecological Analysis of 'the Industrial Revolution', Part I." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1944.
Full textAbstract:
'The Industrial Revolution' is simultaneously one of the most under-examined and overly-simplified concepts in all of social science. One of the ways it is highly under-examined is in the arena of the ecological, particularly through the lens of critical world-history. This paper attempts to analyze the phenomenon through the lens of the world-ecology synthesis, in three distinct phases: First, the history of the conceptualization of the Industrial Revolution is examined at length, paying special attention to the knowledge foundations that determine these conceptualizations. Secondly, I sift out what I believe is the dominant model throughout most of modern and now postmodern history, which I identify as the techno-economic narrative. I then present the main critical world-historical challenge to that argument (that the Industrial Revolution was a unified, linear, two-century phenomenon) by outlining the critical interpretations of Fernand Braudel, Immanuel Wallerstein, Giovanni Arrighi, among others, leading a view of industrialization that is over the very long term, or what Braudel referred to as the longue durée. This long-view form of critical historical analysis is unabashedly Marxist, so there is some foray into various pieces of the Marxian canon, pieces that are often left untouched or at the least under-utilized in many politico-economic analyses of environmental history and politico-ecological narratives as well. Thirdly, I attempt to bring this new long-form view of industrialization more firmly into the ecological, but filtering the basic presuppositions of the 'techno-economic' narratives and the Marxist 'critical world-historical' narratives through the presuppositions of Jason W. Moore's world-ecology synthesis. What we arrive at through this filtering process is a very different view of the Industrial Revolution than we are used to hearing about. This is Part I of a much larger research process, one that I intend to bring into the present and future by looking at the development process of the BRICS as the next extension of the Industrial Revolution. What this paper is most concerned with is re-igniting what I think is a valuable debate among theorists, economic historians, and Marxist ecological thinkers, the debate about what exactly this phenomenon was, is, and will be. My small contribution is to re-define it in relationship to its really-existing history, including its antecedents and possible future expansions.
18
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.
Full text
19
Weiss, Victoria A. "Food and the Master-Servant Relationship in Eighteenth and Nineteenth-Century Britain." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984138/.
Full textAbstract:
This thesis serves to highlight the significance of food and diet in the servant problem narrative of eighteenth and nineteenth-century Britain and the role of food in master-servant relationships as a source of conflict. The study also shows how attitudes towards servant labor, wages, and perquisites resulted in food-related theft. Employers customarily provided regular meals, food, drink, or board wages and tea money to their domestic servants in addition to an annual salary, yet food and meals often resulted in contention as evidenced by contemporary criticism and increased calls for legislative wage regulation. Differing expectations of wage components, including food and other perquisites, resulted in ongoing conflict between masters and servants. Existing historical scholarship on the relationship between British domestic servants and their masters or mistresses in context of the servant problem often tends to place focus on themes of gender and sexuality. Considering the role of food as a fundamental necessity in the lives of servants provides a new approach to understanding the servant problem and reveals sources of mistrust and resentment in the master-servant relationship.
20
McHale, Katherine Jean. "Ingenious Italians : immigrant artists in eighteenth-century Britain." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13854.
Full textAbstract:
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.
21
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.
Full textAbstract:
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.
22
McIntosh, William A. "Rousseau's theory of education in the context of the eighteenth century." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66093.
Full text
23
Bennion, Lyndsay M. "THE FUNCTIONAL PRINT WITHIN THE PRINT MARKET OF THE LATE FIFTEENTH AND EARLY SIXTEENTH CENTURY IN NORTHERN EUROPE AND ITALY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162659677.
Full text
24
Geller, Joseph. "The manuscript version of the memoirs of Dov Ber Birkenthal (Ber of Bolochew)." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22375.
Full textAbstract:
This thesis is concerned with the manuscript of the memoirs of Dov Ber Birkenthal, Ber of Bolechow. The memoirs describe Jewish existence in eighteenth century Poland and provide valuable information regarding economic, social and cultural matters of that era. Uncovered in 1912, the manuscript was edited and published in Hebrew and translated into English by Dr. M. Vishnitzer.By primary supposition of the present thesis is that Dr. Vishnitzer's transcription of the manuscript is inaccurate, and for this reason, a re-working of the memoirs has been undertaken. In addition to providing an authentic transcription of the manuscript, this thesis also contains a description of Birkenthal's life, an analysis of the uniqueness of this somewhat exceptional person and an account of how the memoirs have been used in the literature. Moreover, the historical value of the memoirs has been assessed, and an indepth analysis of the flaws contained in Vishniter's transcription has been provided.
25
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.
Full text
26
Cox, Jensen Oskar. "Napoleon and British popular song, 1797-1822." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:d47008a8-067c-4938-a59d-3d2027a74aa2.
Full textAbstract:
Existing studies of popular culture and popular politics in the long eighteenth century over-favour either the ‘culture’ or the ‘politics’. This thesis contributes to debates on the making of both national and class identity in Britain via intensive analysis of popular song culture, in the context of the Napoleonic Wars. Portrayals of Napoleon himself are used to shape the thesis’ source material and the forms of discussion. It argues for the necessity of sympathetic, informed contextualisation of political issues within contemporary cultural processes: that an understanding of the composition/production and performance/ consumption of song is a prerequisite of determining songs’ relevance and reception. In so doing, it uncovers a nuanced array of attitudes towards both Napoleon and British patriotism, of unsuspected breadth, assertiveness, and idiosyncrasy. The thesis is divided into two stages of argument. Part I consists of a close and contextualised reading of songs as literary and musical objects. Chapter One, after close historiographical engagement that moves to a focus on Colley’s Britons and revisionist arguments about British society, discusses those songs originating after Waterloo. Chapter Two considers songs from 1797-1805. Chapter Three considers songs from 1806-15. Part II builds upon the themes and conclusions of Part I by situating these songs within a lived context. Chapter Four looks at the role of songwriters and printers; Chapter Five at singers; Chapter Six at audiences and reception. Chapter Seven elaborates the overall argument in a synoptic case study of Newcastle. The conclusion is followed by an appendix, listing the songs most pertinent to the thesis, giving additional bibliographical information. A hard copy (USB) of recordings of a representative selection of these songs is also included. These appendices reinforce the thesis’ methodology: to consider songs, not as passive evidence of expression, but as active, dynamic objects.
27
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.
Full textAbstract:
Orientador: Luciano MigliaccioTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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
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
Doutorado
Historia da Arte
Doutor em História
28
Farguson, Julie Anne. "Art, ceremony and the British monarchy, 1689-1714." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:e63509b1-425c-4308-bfc7-d991d46aa693.
Full textAbstract:
This thesis investigates the ceremonial and artistic strategies of the British monarchy in the years following the Glorious Revolution. By adopting a range of methodologies used in the study of visual culture, the thesis considers royal ceremonies as channels for conveying political messages non-verbally. These could affect attitudes to the monarchy, and inform artistic output. By paying particular attention to the way royal participants performed ceremonially in relation to the various formal and informal architectural settings for the court, the thesis highlights the process of seeing as a communicative act. Being alert to the impact of royal ceremonial and artistic activities on contemporary audiences, the thesis also considers the dissemination of royal imagery in England by commercial means. The thesis surveys paintings, prints and medals produced in England, and places the intended audiences at the centre of the analysis. It also pays keen attention to the impact of war on royal image making, and highlights the political context of continental Europe, especially in relation to William’s role as Stadholder-King but also the exiled Stuart court at St Germain near Paris. The evidence presented here supports a number of conclusions. Firstly, war had a profound impact on all aspects of royal image making. Secondly, royal behaviour and involvement in ceremony were vital elements in the visual presentation of monarchy. Kings and queens were of paramount importance, but their consorts were highly significant. Art was also taken seriously by the monarchy and the Crown tightened controls on royal image making during the period in question. The thesis also concludes that the nationalities of the incumbent monarchs and their consorts, along with their previous experiences and personalities, influenced their individual approach to visual representation. These approaches could shift depending on political circumstances and the personal inclinations of the person concerned.
29
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.
Full text
30
Roeder, Tobias Uwe. "Professional identity of army officers in Britain and the Habsburg Monarchy, 1740-1790." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277825.
Full textAbstract:
This thesis explores the existence and outlook of a European officer class in the mid- to later 18th century by studying the army officers of Britain and the Habsburg Monarchy from the War of the Austrian Succession to the eve of the French Revolutionary Wars. It illuminates the character of such an officer class of ‘Military Europe’ with its own cultural customs and practices. Furthermore, it details similarities, differences and peculiarities of both officer corps. This is achieved by analysing the social and national composition of both armies, with a focus here on the Habsburg Army due to the fact that it took in great numbers of foreigners and that the muster lists give an indication of how great the proportion of nobility was. A comparison with the British case shows striking similarities but also obvious differences. In a further step the ability of individuals for social advancement and national mobility is scrutinised on both sides. In this context, the state’s care for its officers and their social security is also taken into account. One possibility to acknowledge the officers’ service was to raise their status, either by ennoblement or through increasing the prestige of the uniform in court and society, its transformation into an ‘Ehrenkleid’ (garment of honour). As officers increasingly became servants to the state, rather than noble retainers and military enterprisers, they were also subject to professionalization efforts by the sovereigns. What becomes apparent, however, is that the officers did not only react to such measures but that at least a significant part of them actively worked on improving the service, thereby exhibiting a growing professionalism. In order to explore the coherence of the officer corps in those armies, with officers all following the same codes and accepting each other as equals, the thesis looks into core values (including honour, duty, courage and loyalty) binding them together and separating them from the enlisted men. The thesis will also offer a glimpse of their engagement with civilian society and culture as well as their role as ‘foot soldiers of Enlightenment’. On a European level, interaction between these officers proves their general acceptance of and respect for each other, while at the same time acting as state representatives in wartimes. Their interaction with non-European and non-state military forces and their leadership marks out the fluid boundaries of military Europe, but also exhibits the pervasiveness of European military culture.
31
Flynn, Jeremy Paul. "A consideration of the nature, methods and practices of fifteenth-century European warfare with particular reference to the Wars of the Roses." Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683280.
Full text
32
Hicks, Jonathan Edward. "Music, place, and mobility in Erik Satie's Paris." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:b5cca39d-7479-4a12-91de-e303a285c81c.
Full textAbstract:
Erik Satie (1866-1925) lived, worked, walked, and died in Paris. The key locations of his career – all within a single urban region – are well known and well researched. Yet he has often been presented as an eccentric individualist far removed from any social or geographical context. This thesis seeks to address – and redress – the decontextualisation of Satie’s career by re-imagining his music and biography in terms of the places and mobilities of turn-of-the-century Paris. To that end, it draws on a range of documentary and fictional material, including journalistic and scholarly reception texts, illustrated musical scores, chanson collections, contemporary visual culture, and cinematic representations of the people, place(s), and period(s) in question. These diverse primary and secondary sources are discussed and interpreted via a set of on-going debates at the intersection of historical musicology, cultural history, and urban geography. Some of these debates can be traced through existing research on the geography of music. Others are more local to this project and derive their value from suggesting alternative approaches to familiar problems in the study of French musical modernism. The main aim throughout is to develop a better understanding of the relations existing between Satie’s musical life, his compositional strategies, and the changing urban environment in which he plied his trade. Chapters One and Two focus on the working-class suburb of Arcueil and the ‘bohemian’ enclave of Montmartre. Chapters Three and Four are organised thematically around issues of musical humour and everyday life. By using the particular example of Satie’s Paris, the thesis proposes that more general avenues of enquiry are opened up into music and the city, thus demonstrating the potential benefits of incorporating the urban-geographic imagination into historical musicology more broadly, and bringing musicological thinking to bear on inter-disciplinary discussions about space, place, and mobility.
33
Russell, Lucy. "Domesticating Winckelmann : his critical legacy in Italian art scholarship, 1755-1834." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8e2d3058-1ae8-46ab-8fab-8f2c9b473860.
Full textAbstract:
This thesis explores the reception of Johann Joachim Winckelmann in Italian art scholarship, 1755-1834. Winckelmann posed a problem: he was a presence in Italy that could not be ignored, yet the views he expounded were Italophobic and contentious to an Italian readership. In light of this dilemma, the research question asked is how did Italian art scholarship respond to Winckelmann in this period and why did it respond in that way. The core argument advanced is that there were two opposing reactions to Winckelmann, both of which were motivated by nationalism. On the one hand, Italian art scholars presented Winckelmann, his works, and his views as less attractive to an Italian readership than they would otherwise have appeared and, on the other hand, they presented him as more attractive. Through these reactions â termed foreignization and domestication respectively â art scholarship either defended against and ostracized Winckelmann or, when presented as less offensive, welcomed and embraced him amongst Italians. Thus this thesis argues that both reactions demonstrate a nationalistic attempt to portray Winckelmann in the manner most auspicious to the yet-to-be-united peninsula. In order to explore this response to the German scholar, the thesis centres on three media: translations, art literature, and artistic journalism. Both foreignization and domestication are evident throughout the sources analysed, yet there is a predominance of domestication, achieved through a variety of methods. This investigation adds to existing literature by examining the previously overlooked dilemma that Winckelmann posed. Moreover, employing the original conceptual framework of foreignization and domestication allows for a re-evaluation of how the art scholarship of the period engaged with the German scholar. Finally, demonstrating the infiltration of nationalistic sentiment in this period, even extending to Italian art scholarship, this thesis is the first to posit that nationalism played a significant role in Winckelmann's critical legacy.
34
Thorez, Eric-Selvam. "Peintres Moghols au XVIIIe siècle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040267.
Full textAbstract:
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 peintureThis 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
35
Bucknell, Clare. "Poetic genre and economic thought in the long eighteenth century : three case studies." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:71e97b4d-c009-487c-8efb-fdb71eefa080.
Full textAbstract:
During the eighteenth century, the dominant rhetorical and explanatory power of civic humanism was gradually challenged by the rise of a new organising language in political economy. Political economic thought permitted radically different descriptions of what laudable private and public behaviour might be: it proposed that self-interest was often more beneficial to society at large than public-mindedness; that luxury had its uses and might not be a threat to liberty and political integrity; that landownership was no particular guarantee of virtue or disinterest; and that there was nothing inherently superior about frugality and self-sufficiency. These new ideas about civil society formed the intellectual basis of a large body of verse written during the long eighteenth century (at mid-century in particular), in which poets engaged enthusiastically with political economic arguments and defences of commercial activity, and celebrated the wealth and plenty of Britain as a modern trading nation. The work of my thesis is to examine a contradiction in the way in which these political economic ideas were handled. Forward-looking and confident poetry on public themes did not develop pioneering forms to suit the modernity of its outlook: instead, poets articulated such themes in verse by appropriating and reframing traditional genres, which in some cases involved engaging with inherited moral values and philosophical preferences entirely at odds with the intellectual material in hand. This inventive kind of generic revision is the central interest of the thesis. It aims to describe a number of problematic meeting points between new political economic thought and handed-down poetic formulae, and it will focus attention on some of the ways in which poets manipulated the forms and tropes they inherited in order to manage – and make the most of – the resulting contradictions.
36
Morriello, Francesco Anthony. "The Atlantic Revolutions and the movement of information in the British and French Caribbean, c. 1763-1804." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/274901.
Full textAbstract:
This dissertation examines how news and information circulated among select colonies in the British and French Caribbean during a series of military conflicts from 1763 to 1804, including the American War of Independence (1775-1783), French Revolutionary Wars (1792-1802), and the Haitian Revolution (1791-1804). The colonies included in this study are Barbados, Jamaica, Guadeloupe, Martinique, and Saint-Domingue. This dissertation argues that the sociopolitical upheaval experienced by colonial residents during these military conflicts led to an increased desire for news that was satiated by the development and improvement of many processes of collecting and distributing information. This dissertation looks at some of these processes, the ways in which select social groups both influenced and were affected by them, and why such phenomena occurred in the greater context of the 18th and early 19th century Caribbean at large. In terms of the types of processes, it examines various kinds of print culture, such as colonial newspapers, books, and almanacs, as well as correspondence records among different social groups. In terms of which groups are studied, these include printers, postal service workers, colonial and naval officials, and Catholic missionaries. The dissertation is divided into five chapters, the first of which provides insight into the operation of the mail service established in the aforementioned colonies, and the ways in which the Atlantic Revolutions impacted their service in terms of the different historical actors responsible for collecting and distributing correspondences. Chapter two looks at select British and French colonial printers, their print shops, and the book trade in the Caribbean isles during the 18th century. Chapter three delves into the colonial newspapers and compares the differences and similarities among government-sanctioned newspapers vis-à-vis independently produced papers. It uses the case of the Haitian Revolution to track how news of the slave insurrection was disseminated or constricted in the weeks immediately following the night of 22 August 1791. Chapter four examines the colonial almanac as a means of connecting colonial residents with people across the wider Atlantic World. It also surveys the development of these pocketbooks from mere astrological calendars to essential items that owners customized and frequently carried on their person, given the swathes of information they featured after the American War of Independence. The final chapter looks at the daily operations of Capuchin and Dominican missionaries in Martinique and Guadeloupe at the end of the 18th century and how they maintained their communications within the islands and with the heads of their Catholic orders in France, as well as in Rome. Overall, this project aims to fill in some of the gaps in the literature regarding how select British and French colonial residents received and dispatched information, and the effect this had in their respective Caribbean islands. It also sheds light on some of the ways that slaves were incorporated into the mechanisms by which information was collected and distributed, such as their encounters with printers, employment as couriers, and use as messengers to relay documents between colonial officials. In doing so, it hopes to encourage future discussion regarding how information moved in the British and French Caribbean amid periods of revolution and military conflict, how and why these processes changed, and the impact this had on print culture and mail systems in the post-revolutionary period of the 19th century.
37
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.
Full textAbstract:
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.
38
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/.
Full textAbstract:
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.
39
Barush, Kathryn R. ""Every age is a Canterbury pilgrimage" : art and the sacred journey in Britain, c. 1790-1850." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:63e1545c-1362-4bc3-bbc3-b950eecf7c70.
Full textAbstract:
This thesis examines the intersections of the concept of pilgrimage and the visual imagination in Britain from the years 1790 to 1850. Historically, distinctions between understandings of pilgrimage as motif, metaphor, artistic process, and actual journey have been blurred to varying degrees, resulting in the creation of images that were at once narratives, memorials, and stimuli for contemplative journeys from pictorial space to imagination. In the first half of the nineteenth century, religious architecture, sacred landscapes, and the emblematic figure of the pilgrim with coat, hat, and scrip functioned as temporal reminders of a promised land to come, as mediated through artistic practice. Through a close analysis of a range of interrelated visual sources, I contend that pilgrimage, both in practice and as a form of mental contemplation, helped to shape the religious, literary, and artistic imagination of the period and beyond. This study draws out the various levels at which pilgrimage engaged the visual imagination. In doing so it offers a detailed perspective on the conjunction of content, form, meaning, and process for artists and theorists, as notions of the transfer of ‘spirit’ from sacred space to represented space re-emerged as a key aspect of the theological and artistic discourse of the period. Chapter 1 outlines the antiquarian dissemination of medieval pilgrimage texts and images. I suggest that an awareness of pilgrimage as embodying the real and imagined emerged with the recovery of allegorical texts, histories of actual pilgrimages, and an interest in pilgrimage souvenirs. The discussion moves on to intersections between pilgrimage and religious art in Chapters 2 - 4, including the idea of painting as pilgrimage, as demonstrated through specific case studies, and the refashioning of relics and religious ruins as contemporary sites of pilgrimage (Chapter 5).
40
David, L. Kencik. "The Triumph of the Eucharist in the Paintings for the Sala dell’Albergo and the Sala Superiore in the Scuola Grande di San Rocco by Jacopo Tintoretto (ca. 1518/19-1594)." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1590600384514719.
Full text
41
Landais, Benjamin. "Nations, privilèges et ethnicité à l'époque des Lumières : l'intégration de la société banataise dans la monarchie habsbourgeoise au XVIIIe siècle." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAG025.
Full textAbstract:
Le Banat est une région d’Europe balkanique conquise en 1716 par les Habsbourg sur l’Empire ottoman et directement administrée par Vienne. Dans les discours des administrateurs habsbourgeois, l’usage des catégories nationales est pragmatique. Il permet de déterminer les pratiques de gouvernement acceptables envers des groupes aux limites floues, dans le respect des intermédiaires traditionnels et d’une communication politique effectuée en langue vernaculaire. Mais l’action d’un État uniquement fiscal et militaire est remise en cause par l’élargissement de son périmètre d’action et l’arrivée d’une nouvelle génération de fonctionnaires en 1769. L’influence du caméralisme et de la statistique administrative amène à considérer les nations sous un angle exclusivement culturel. Mais cette identité imposée n’est pas assimilée par les populations. Celles-ci se réapproprient l’ancien usage des nations privilégiées dans leurs revendications politiques au cours des années 1780The Banat is a large region of the Balkans. It was conquered in 1716 by the Habsburg power over the Ottoman Empire and then governed directly from Vienna. In this context, the Habsburg civil servants made a pragmatic use of national categories. They were a means to determine an acceptable political behaviour towards groups defined by vague social boundaries, while respecting traditional middlemen and using the vernacular for political communication. However, the action of this strictly fiscal and military State was called into question by the widening of its prerogatives and the arrival of a new generation of civil servants in 1769. The influence of Kameralismus and the administrative statistic led the latter to consider the nations from a cultural point of view. But this imposed identity did not seem to be taken up by the population. On the contrary, people began to use the old sense of the privileged “nations” in their political claims directed to the emperor in the 1780s
42
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.
Full textAbstract:
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.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.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
43
Aragonès, Riu Núria. "Iconographie des Petits Théâtres en France au XVIIIe siècle." Paris 3, 2008. http://www.theses.fr/2008PA030028.
Full textAbstract:
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 théâtreDiffering 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
44
Lindfield, Peter Nelson. "Furnishing Britain : Gothic as a national aesthetic, 1740-1840." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3490.
Full textAbstract:
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.
45
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.
Full textAbstract:
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.
46
Hague, Stephen G. "A modern-built house ... fit for a gentleman : elites, material culture and social strategy in Britain, 1680-1770." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2fc553a3-8922-4793-b893-e6686518e61e.
Full textAbstract:
A 1755 advert in the Gloucester Journal listed for sale, 'A MODERN-BUILT HOUSE, with four rooms on a floor, fit for a gentleman'. In the late-seventeenth and eighteenth centuries, 'gentlemen's houses' like the one described evolved as a cultural norm. This thesis offers a social and cultural reading of an under-studied group of small free-standing classical houses built in the west of England between 1680 and 1770. By developing a profile of eighty-one gentlemen's houses and one hundred and thirty-four builders and owners, this study unites subjects such as the history of architecture, landscapes, domestic interiors, objects and social development that are often treated separately. The design, spatial arrangement, and furnishings of gentlemen's houses precisely defined the position of their builders and owners in the social hierarchy. The 1720s marked an important shift in the location and meaning of building that corresponded to an alteration in the background of builders. Small classical houses moved from a relatively novel form of building for the gentry to a conventional choice made by newcomers often from commercial and professional backgrounds. Gentlemen's houses projected status in a range of settings for both landed and non-landed elites, highlighting the house as a form of status-enhancing property rather than land. Moreover, gentlemen's houses had adaptable interior spaces and were furnished with an array of objects that differed in number and quality from those lower and higher in society. The connections between gentlemen's houses and important processes of social change in Britain are striking. House-building and furnishing were measured strategic activities that calibrated social status and illustrated mobility. This thesis demonstrates that gentlemen's houses are one key to understanding the permeability of the English elite as well as the combination of dynamism and stability that characterized eighteenth-century English society.
47
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.
Full textAbstract:
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 carrièreThe 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
48
Schneider, Marlen. "„Belle comme Vénus‟ : das portrait historié zwischen Grand Siècle und Zeitalter der Aufklärung." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20031.
Full textAbstract:
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 courThe 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
49
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.
Full textAbstract:
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.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.
50
van, Ginhoven Sandra. "The Role of the Antwerp Painter-Dealer Guilliam Forchondt in the Large-Scale Distribution of New Imagery in Europe and the Americas during the Seventeenth Century." Diss., 2015. http://hdl.handle.net/10161/9834.
Full textAbstract:
This dissertation focuses on the large-scale distribution of imagery from the Southern Netherlands across Europe and the Americas, particularly on the large number of paintings exported from Antwerp-Mechelen to Spain and the Americas during the seventeenth century. To analyze this profitable long-distance art trade and the artistic implications of the exchanges that took place through market mechanisms, this research relies on the archival and visual sources left by one of the most successful seventeenth-century Antwerp international art dealers with Spain and the Americas, Guilliam Forchondt (1608-1678). He established a productive painting workshop and a successful commercial firm that concentrated on Spanish Habsburg territories. This dissertation examines his workshop practices, the type of paintings he directed to Spain and the Americas, and the mechanisms he established for artistic and information exchanges between Flemish, Spanish and colonial Spanish contemporaries because Forchondt dealt in the transatlantic trade through a commercial network of merchants and agents in Europe and the New World. This research also investigates local conditions and responses in Spain, Mexico and Peru to the imported Flemish paintings.
Dissertation