Academic literature on the topic 'Femmes peintres – Italie – 17e siècle'
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Dissertations / Theses on the topic "Femmes peintres – Italie – 17e siècle"
Julien, Albane. "Rosalba Carriera (1673-1757). Entre peinture et écriture : une Vénitienne dans l'Europe des Lumières." Electronic Thesis or Diss., Montpellier 3, 2016. http://www.theses.fr/2016MON30068.
Full textThis thesis is about the work of the Venetian Rosalba Carriera (1673-1757), who knew an international success thanks to her portraits and her exceptionnal mastery of pastel painting. However, Rosalba Carriera was not only an artist. In effect, she wrote many letters, texts in relation with the society of her century and she wrote a little essay about the pastel and she was also a letter writer, a poet and wrote diaries. Without forgetting her identity of artist,we will stress on her profile of woman of Letters, witness of her century. First of all, we will speak about the painting and the women painters in Europ and in Venice in the 18th century and we will insist on the artistic formation of Rosalba Carriera.In a second time, we will analyse the writings of Rosalba: her letters and diaries that reveal her qualities of letter writer and diarist and also the large network she especially developed in France and a little bit in England. Finally, we will introduce Rosalba as a poet, as a social and historical witness of her time thanks to many texts and thank to her essay on the pastel painting, Maniere diverse per formare i colori, where she appears as an educationalist and specialist. These differents facets of Rosalba Carriera will make up the portrait of an artist and a woman of Letters in the Enlightenment Europ
Lehours, Emilie. "Elisabetta Sirani (1638-1665) : de l’Amazone à la Sirène." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040185.
Full textElisabetta Sirani (1638-1665) was a Bolognese 17th century women painter. Bologna was considered a philogynous city, since many Bolognese women were famous for their erudition and for being laureates in literature and sciences. Elisabetta Sirani was not an exception, she was a well-educated and cultured woman whose occupation as a painter was mostly seen as a virile one. Elisabetta Sirani’s profile presents both a biographical and iconographic interest ; a double orientation that closely relates art to literature. Elisabetta Sirani was part of history too as her character was reintrepreted by various literary genres. The 19th century revealed the reinterpretation of a chronicle into a myth
Julien, Albane. "Rosalba Carriera (1673-1757). Entre peinture et écriture : une Vénitienne dans l'Europe des Lumières." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30068.
Full textThis thesis is about the work of the Venetian Rosalba Carriera (1673-1757), who knew an international success thanks to her portraits and her exceptionnal mastery of pastel painting. However, Rosalba Carriera was not only an artist. In effect, she wrote many letters, texts in relation with the society of her century and she wrote a little essay about the pastel and she was also a letter writer, a poet and wrote diaries. Without forgetting her identity of artist,we will stress on her profile of woman of Letters, witness of her century. First of all, we will speak about the painting and the women painters in Europ and in Venice in the 18th century and we will insist on the artistic formation of Rosalba Carriera.In a second time, we will analyse the writings of Rosalba: her letters and diaries that reveal her qualities of letter writer and diarist and also the large network she especially developed in France and a little bit in England. Finally, we will introduce Rosalba as a poet, as a social and historical witness of her time thanks to many texts and thank to her essay on the pastel painting, Maniere diverse per formare i colori, where she appears as an educationalist and specialist. These differents facets of Rosalba Carriera will make up the portrait of an artist and a woman of Letters in the Enlightenment Europ
Cioccolo, Floriana. "Marianna Candidi Dionigi : une femme écrivain et peintre à l'âge néoclassique." Caen, 2012. http://www.theses.fr/2012CAEN1650.
Full textThe edition and comment of the letters Marianna Dionigi Candidi (1757-1826) and those of her daughter Enrichetta (1784-1868) shed new light on the knowledge of Roman society in the early nineteenth century. In this way, literati almost forgotten are recalled. Moreover, some of the leading characters of Italian neoclassical literature take advantage from these new data. The thesis analyzes also the two treatises published by Marianna with an historical and literary study. Precetti elementari sulla pittura de’ paesi is confirmed as a learning exercise. As for Viaggi in alcune città del Lazio, this research has focused the debate over the « Pelasgic » theory proposed by the abbot Petit-Radel that the Roman lady shared. She delivered to this treatise the essence of her identity, both on the page and in images. The conception and the publishing enterprise (edition, printing and sale) has been the main topics we investigated by comparing some passages in the text with the correspondence of the Dionigi mother and daughter. In a letter to Diodata Saluzzo-Roero another treatise, unfinished and lost, is analyzed starting from its actual title (Storia del mio tempo), its arguments and ideology. From these contacts emerges a network between Turin, Rome and Naples linking a current of Catholic loyalist who cultivated their own vision of the forthcoming Risorgimento
Bassetti, Edoardo. "Artemisia, icône de notre temps : une mythologie." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUL049.pdf.
Full textThis thesis examines the contemporary reception and fictional works inspired by the painter Artemisia Gentileschi (1593-1654ca), who has become an icon in recent decades, capable of arousing cultural tensions and inducing reactions of a performative and identity-based nature. Aware that its current fortunes cannot be understood through a solely "archaeological" or "anachronistic" approach, but rather that it is necessary to alternate these critical movements as in DIDI-HUBERMAN's (2008) "imprint", the structure of the thesis is divided into two parts, one diachronic and the other synchronic. Starting from this premise, the proposed itinerary aims to show how Artemisia's "iconic power" cannot be dismissed as a mere feminist stunt or a product of the culture industry, but is determined by much deeper reasons, linked to the "culture wars" (MUIR 2007) which, born precisely in the seventeenth century, still characterize in some ways our times.The first part, entitled Artemisia, Artemisias: from documents to the imaginary and back, and divided into two chapters, first analyzes Artemisia and her time, or rather the "posture" (MEIZOZ 2007) and the process of "self-fashioning" (GREENBLATT 1980) that led the painter to assert herself with great authority on the artistic scene, coming into contact with the most influential political and cultural figures of the 17th century (Galileo, for example) ; then looks at Artemisia and our times, chronologically tracing the phases and turning points of her posthumous reception, proposing a first systematic periodization: above all, the "creation" of Artemisia as a modern literary character with ANNA BANTI's 1947 novel, thanks to which the painter became an "allegorical figure" (BAZZOCCHI 2021) who today inspires an incessant fictional production (the so-called "Artemisia fictions"); second-wave feminism in the 1970s and 1980s, which made the artist a standard-bearer for its political and social battles; and finally the new acceleration marked more recently by the #MeToo movement and the advent of social media, which have further increased Artemisia's "symbolic capital" (BOURDIEU) within our society.The second part (Artemisia and the moment of its "legibility". A critical "constellation": trauma, genre, transmedia) draws on the Benjaminian concepts of "dialectical image" and "legibility", to attempt in 3 chapters to identify the reasons why, just today, Artemisia and her work have become legible: 1) the dimension of trauma, intrinsic to the painter's own private biography, which the thesis attempts to highlight by analyzing particularly interesting Artemisia fictions, read in the light of Trauma Studies and DERIDDA's "hauntology"; 2) the dimension of genre, which, through the reflections of DE LAURETIS, BAL, POLLOCK, MULVEY etc. , the thesis intends to apply to certain of Artemisia's paintings (Susanna and the Elders, Judith and Holofernes, Corisca and the Satyr, Christ and the Samaritan Woman etc.), which formalize a new relationship between feminine and masculine; 3) finally, the transmedia dimension taken on by her character, as one of the most prolific mythopoetic matrices of the third millennium, capable of resignifying the ideological horizons and identity structures of our time
Renoux, Christian. "Sainteté et mystique féminines à l'âge baroque : naissance d'un modèle en France et en Italie." Paris 1, 1996. http://www.theses.fr/1996PA010521.
Full textThe history of the canonisation in the renaissance is characterized by a long silence of the pontifical practice after 1523 and the lutheran condemnations of 1524. Begining again in 1588 and trusted to the congregation of the rites, the canonisation, is marked, in the baroque age by the great number, the opening to the uneuropean world,a new and clear spanish preponderance and a traditional feminine minority (20%). The processes of french and italian women of the XVIIth century-opened before 1700 - and the french benedictines eloges (1679) by. Mere de Blemur offer a varied but homogeneous corpus to study the place of the mystical experiences in the search and the recognition of the sainthood in the XVIIth century. The expression "mystical experience" appears at the end of the end of the XIXth century when positivists and spiritualists are in opposition on the apparitions,ecstasies or visions. Since then,mysticism is given rise to a lot of medical,psychological,philosophical, sociological and historical researches. In the xviith century,the mystical theology, understood in the dionysian tradition such as transmitted by gerson,is a experimental science of God. After a period of crisis in the XVIth century due to the lutheran condemnations, it knows a noteworthy renewal in the baroque age, owing to the spanish carmelitan school and in a spirit of counter-reformation. In the processes of canonisation and in the eloges,the narratives of mystical experiences are numerous
Petrick, Vicki-Marie. "Le corps de Marie Madeleine dans la peinture italienne du XIIIe siècle à Titien." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0087.
Full textThe goal of this thesis is to show the density of meanings that inform the plastic and iconographic choices made by Titian for his Pitti Magdalen, examining it in light of the visual traditions of the Magdalen in Italy. To do this, the dissertation goes back to the visual codes established in the 13th century. This study brings forward the means by wich women's bodies may be bearers of theological meaning, beyond that of sin and temptation. A first part establishes the foundations. One chapter approaches the anthropology of the Christian body, another the construction of the "character" of Mary Magdalen and themes associated with her, a third stuides these first plastic formulations in the mediterranean basin. A second part is consecrated to the cycles that present her Vita : the Florentine pala of 1285, the Assisi Magdalen chapel, and the Magdalen chapels of the Bargello and Santa Croce in Florence. The chapters bring forward the dynamic in wich the spectator relates to the figure as an example of sinful flesh converted. A last part proposes a diachronical analysis, on a large temporal scale, from the fourteenth to the sixteenth centuries the principal iconographical signs that distinguishe her : the color red, the hair, the tears, the vase and the perfume, all the while giving particular attention to the regional variations between Tuscany and the Veneto. The final chapter converges the results of the first chapters in the analysis of the Titian Magdalen who appears as an end point in the plastic and conceptual research conducted since 1270
Lesage, Claire. "La culture et la condition féminines chez les femmes lettrées à Venise (fin de la Renaissance, début de l'époque baroque)." Paris 3, 1995. http://www.theses.fr/1995PA030102.
Full textOur research is dedicated to the study of the feminine literature in venice at the end of the renaissance and at the beginning of the baroque period. We selected four writers' works whose names are : isabella cortese, moderata fonte, lucrezia marinella and arcangela tarabotti. We studied their writings with an historical porspect in order to witness the feminine condition within the italian ociety of thius time. In a stylistic prospect, our second purpose was to evaluate the influence of the litarary models and these writers' capacity to put their own touch, as women, into their writings. We could realize the existence of a thought about their status as women of letters and about the feminine condition in general. It results in a claiming message which is particularly modern
Drisdelle, Julie Lynne. "Female Self-Portraiture and the Construction of the Self." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23669/23669.pdf.
Full textVigroux, Perrine. "Les femmes à l'Académie royale de peinture et de sculpture (1663-1793) : sociabilité, pratique artistique et réception." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30030.
Full textFifteen women artists will be admitted to the Royal Academy of Painting and Sculpture between 1663 and 1793. Sincethe Renaissance, Europe and France, a small number of women enjoys a certain reputation both nationally andinternationally, in arts, literature and science, thus opening the way for new talent. These women are particularlyencouraged by the philosophical theses of Francois Poulain de la Barre (1647-1723) which will enable them to occupy amore privileged in a society that crystallizes around lounges. They are small and scholarly meetings where artists invitehome men and women to discuss literature, philosophy, art but also politics. These very popular places with greatsuccess in the late seventeenth century and throughout the eighteenth century. The reception of the first women to theAcademy is in this climate quite favorable to women both socially and culturally, and politically.But this admission only remains precarious. Indeed after the entry of Catherine Perrot, January 31, 1682, it will takealmost forty years, October 26, 1720, that is again admitted a painter Rosalba Carriera. Certainly, they open the doors ofthis institution, but they are nonetheless excluded from many activities and many privileges. They do not have the rightto attend classes of the living model - which poses naked - yet fundamental lessons in teaching promoted by theAcademy, nor to compete with great prices, yet in the heart of the system emulation in fact the academicians will neverhave access to positions of responsibility. Yet they have helped to reinvent the French artistic landscape and especiallythe portrait genre. Advocating natural, they helped to renew the female locker room with more light and gauzy outfits.Badly perceived by critics, these new shirts called saplings, took part in the simplification of official portraits. At thesame time, the feminization of court portraitists offer greater opportunities to women painters. Pushing the limits stillfurther, they succeeded through portraits to invest storied history painting, genre reserved for the most accomplishedpainters and good command of anatomy.Their contemporaries through their writings or artistic works proposed an idealized image, faked sometimes deceivedthese academicians. talented women, ambitious women, academicians still managed to impose a new vision of thewoman painter