Academic literature on the topic 'Arts graphiques – Japon – 20e siècle'
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Dissertations / Theses on the topic "Arts graphiques – Japon – 20e siècle":
Yu, Yue. "La diffusion et la réception des arts graphiques japonais modernes en France (1919-1939)." Electronic Thesis or Diss., Université de Lille (2022-....), 2023. http://www.theses.fr/2023ULILH062.
During the 1920s and 1930s, Japan and France enjoyed particularly rich cultural exchanges. Many Japanese artists came to Paris to study Western painting, some going so far as to compete in Parisian Salons. At least 200 artists exhibited at the parisiens Salons. On the Japanese side, for example, 32 group exhibitions of Japanese artists were organised in France during this period, either by the imperial government or on the initiative of the artists themselves. More than 70 solo exhibitions in Parisian galleries were also dedicated to Japanese artists. On the French side, the art dealer Herman d'Oelsnitz and the Société d'art franco-japonaise organised no fewer than 23 exhibitions of French art in Japan. In 1928, masterpieces from the Musée du Luxembourg were sent to Tokyo, while an exhibition of Japanese art was held at the Musée du Jeu de Paume in 1929. After this exhibition, apart from the 13 paintings bought by the French state, 81 paintings and 31 decorative arts were sold to private collectors. As for prints, 19 were bought by the French State. These particularly intense relations lead us to ask questions such as: why did Japanese artists come to Paris? What selection criteria did Japan adopt for exhibitions of Japanese art? How were Japanese artists and their works perceived in France? What type of work was acquired in France, Japanese-style painting (nihonga) or Western-style painting (yōga), or both? The analyses will pave the way for a better understanding of the dynamic exchanges between Japan and France, exchanges whose importance is also reflected in today's art world
Delaborde, Blanche. "Poétique des impressifs graphiques dans les mangas 1986-1996." Thesis, Paris, INALCO, 2019. http://www.theses.fr/2019INAL0003.
The subject of this dissertation is mimetic words that express sounds (onomatopoeia or giongo) or other types of sensations (gitaigo) that are used in manga. Most often traced by hand and integrated into the drawings, they derive their expressive power from linguistic devices such as the use of numerous variants and neologisms, and graphic devices such as the stylization or the metonymic treatment of the written characters, or the exploitation of peculiarities of the Japanese scriptural system. After having examined in detail these morphological characteristics, we analyze the role of mimetic words in the syntax of manga, by treating in particular the questions of their relation of anchoring to the iconic drawings, of their inscription in the diegetic space and of their belonging to a complex textual network. Finally, we examine the way in which the mimetic words take part in the narration and the aesthetics of manga through their contribution to the expression of time and to the expression of the interiority of the characters. Our study draws on a body of manga of various genres published between 1986 and 1996, with a particular focus on Araki Hirohiko’s JoJo's Bizarre Adventure, Igarashi Mikio’s Bonobono, and Hiwatari Saki’s Please Save My Earth
Vocat, Christophe. "La censure des arts graphiques de 1881 à nos jours." Nantes, 2006. http://www.theses.fr/2006NANT4028.
This thesis relates to the censure in the graphic arts, from the point of view of an evolution since the adoption of the law of 1881 on the freedom of the press until our days. The graphic arts are the drawings, posters, photographs, engravings. The cinema is excludes from this study. There are several forms of censure. The direct censure will relate to all measurements of administrative police force aiming at preventing the diffusion of the works of art graphic (title 1). The indirect censure will appear through the use of the criminal law (titre2). It is also necessary to take account of the new faces of the censure, with the alternative recourse to the civil law and the necessary adaptation to new technologies (title 3)
Smet, Catherine de. "Le livre comme synthèse des arts : édition et design graphique chez Le Corbusier, 1945-1965." Paris, EHESS, 2002. http://www.theses.fr/2002EHES0094.
The thirty-five books published by Le Corbusier between 1912 and 1960 were each conceived as autonomous projects : he himself saw to their design and closely supervised all stages of the publication process. The analysis of this singular activity at the junction of architecture, art, and communication uncovers a little known aspect of a career that evolved through the twentieth century, and the architect’s contribution to a history he is rarely associated with, the history of publishing. In concentrating on the books published after 1945, in which an autobiographical posture prevails, this study aims to bring to light the issues linked to the visual rhetoric of layout as well as the essential role of books in the dynamics of Le Corbusier’s work as a whole. In particular, it seeks to show how the architect exploited graphic design techniques to present the unity of his production, and thereby to accomplish, within the printed medium, his difficult project of a synthesis of the arts
Lamarque, Anne-Laure. "Le dansé et l’art comme véhicule : butô(s) entre France et Japon." Paris 8, 2012. http://www.theses.fr/2012PA084010.
This study puts in prospect the methods used for the action of dancing – the dancing process – in the field of six "Butoh" approaches developed in France and in Japan: Claude Magne, Richard Cayre, Carlotta Ikeda in France, and Ko Murobushi, Dairakudakan company (Akaji Maro) and Yoshito Ohno in Japon. It is about the study of the performative elaboration of these dances and their fabric. The investigation of the various steps of these approaches and the study of the performers' actives are essentially carried out through a personal commitment in these practical involvements. How could we define these advances, which have an effect on a long term basis, and which, through the setting up of body techniques together with the discursive procedures that go along with them, make it impossible to separate art from the path of life? The main question that we attempt to answer in this study is: thanks to their research on the specific process that lead to the practice of butoh(s), to what extent do artists-dancers in France and in Japan manage to generate thoughts/actions, lifestyles, that allow to reconsider the notions of action, cognition, the imaginary, art, and relation to the world? This research leads to the question of art and its operating field and to the connections between "art" and "society". It is part of a wide field of research on "performative practices"(project of ethnoscenology) or on "the meta daily human behaviors "(Grotowski)
Delleaux, Océane. "Les multiples et les " autres " multiples depuis le milieu des années 1980 : enjeux et mutations." Rennes 2, 2006. http://www.theses.fr/2006REN20015.
The thesis deals with the second generation of the multiple and " other " multiples (prints, recordings, artists' books, etc. ) from the middle of the 1980's in the west. It approaches this contemporary artists' editions from three angles : the medium, the distribution and the production. Taking into account the report of failure of the research in the attempts their democratization by the art actors in the 1960-1970's, it aims at showing the new organization modalities of the conception of original artworks on the industrial scale and notifies the new vulgarization modes of the multiple and " other " multiples
Buquet, Benoît. "Art & design graphique des années 1950-1970 : contribution fragmentaire à une histoire visuelle partagée." Paris 10, 2011. http://www.theses.fr/2011PA100196.
This dissertation discusses the interaction between two different disciplinary fields – art and graphic design – and seeks to understand how a divided history occured. It focuses on France, Italy, Poland and United States, especially on the years 1950-1970. The first part examines the artistic practice of décollage, principally trough the examples of Raymond Hains and Mimmo Rotella, then explores Optical and typographical liquidity. Chapter two focuses on the links between France and Poland. Paying close attention to the polish context and the rise of a singular affichisme, centred around Henryk Tomaszewski, then we emphasize the carreer of Roman Cieslewicz who moves to France in 1963. He takes an important part in cultural french live and at the same time he is involved in « anti-movement » Panique. The last chapter focuses on United States trough three examples : the links between Fluxus and the graphic design of George Maciunas, the stimulating and insidious work of Ed Ruscha and an attention to feminist graphic design in Los Angeles
Ayrault, Patricia. "L'affiche en Espagne de 1915 à 193O : a la recherche de l'Art-Déco." Paris 3, 1997. http://www.theses.fr/1998PA030047.
Through the study of 441 posters published in spain from 1915 to 1930, my purpose has been to analyse the rhetoric of spanish poster art as well as to determine the place and importance of spanish art-deco posters in world of posters. Posters have been classified into three categories : - traditional posters with bullfighting and religious themes from saragossa, seville and malaga. - regional posters, from basque country and from galice. - modern posters, from valencia, barcelona and madrid. My dissertation consists of two main units: a synthesis in the first three parts and an analysis in the other four parts. The main lines for each of them are as follows : - part one examines the economic, sociological and political environment of the period under study. - part two provides a definition of posters and part three identifies the concept of art-deco. - part four, five and six examine the traditional, regional and modern day posters in succession. - part seven analyses the style of all the categories mentioned from a dimensional, chromatic and typographic aspect
Daniel, Hugo. "Les Voies du dessin : statut et redéfinitions du dessin dans les avant-gardes occidentales des années 1950-1960." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010547.
Drawing is hardly studied in works of art history focusing on the 1950s and 1960s. This fact is all the more surprising that many artists, such as Rauschenberg, Hesse, Tinguely, Twombly, Michaux or Lebel, but also critics, gallerists and curators took notice of the medium at that time.Drawing must be defined according to its operations and analyzed in its relationshipwith other media. It is approached as a practice. This project is based on a material, culturaland social understanding of art history, it relies on the study of drawings, but also on archive documents and interviews with major figures of the period. From the working process of artists, to the changing discourses of critics and therenewed interest of curators and gallerists, drawing is redefined as a complex object. It allows artists to deal with the flow of images that characterizes the 1950s and 1960s. It also takes on an experimental quality because of its association to the thought process. Psychiatrists andartists have used the practice of drawing to better understand the mind. Whether it is used as an origin of art or as a marginal space implying specific experiences, drawing in the 1950sand 1960s is multi-faceted and is studied as such
Guégan, Victor. "Jan Tschichold et les nouveaux typographes en Allemagne et en Suisse. Explications de textes (1925-1972)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040076.
Jan Tschichold (1902-1974), typographer and theorist of typography, is famous for the break that divides its work into two apparently irreconcilable corpora in the traditional categories of art history: modernism and traditionalism. In the 1920s, he is in Germany, one of the “New Typography” advocates, avant-garde design discipline particularly influenced by the Bauhaus. After immigrating to Switzerland (after the Nazis came to power), he became from the late 1930s, a scholar of the history of printing, replacing the traditional form of the book at the center of its concerns. How to explain this failure? We propose to answer this question by offsetting our view of Tschichold design work to focus on practices of reading and writing. This allows considering its work like a professional forced to adapt a craft to mechanization and automation, stepping out with the legend of the avant-gardist artist who is propagated by many books on the history of graphic design. By superimposing on the conceptual tools of art history, the analysis grids of the historians of book and printing, of the industrial revolution or the tolls of sociologists, we try to bring new elements of understanding, not only for Tschicholds career, but also the “artistic” movement of the New Typography. More generally, our work questions the notions of “typography” and "typographer" and the relationship between typography, graphic and advertising design, painting, photography and architecture in the twentieth century