Dissertations / Theses on the topic 'Figurative painting'
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Coutts, Maryanne. "Using narrative strategies in contemporary figurative painting." Thesis, Federation University Australia, 1999. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/165036.
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"This project applies an analysis of narrative, its elements, strategies and devices to figurative painting within the practical project of producing visual narrative fiction."Doctor of Philosophy
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Zhang, Naijun. "Recent paintings untitled /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1642.
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Thesis (M.F.A.)--West Virginia University, 2000.Title from document title page. Document formatted into pages; contains iii, 21 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 9).
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Mason, Gale Joanna. "Aggregate: An exhibition -and- Event, Sensation and Figurative Painting: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2495.
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This practice-led doctoral research has emerged out of dedicated figurative painting practice and interweaves Gilles Deleuze’s Sensation and Slavoj Žižek’s Event concepts. The Event is understood as a philosophical system and not a particular occurrence. As with Sensation, it is framed as an unseen destabilising force or rupture that can only be experienced through its effects. Utilising the heuristic value of oil paint’s materiality and examining approaches of capturing the idea of Evental rupture, emphasis was given to colour theory, art history, facture and the construction of figurative paintings, with particular attention to the quality of materials.
Key figurative painters Susanne Kühn and Neo Rauch, who originated from the East German city of Leipzig and gained prominence after the fall of the Berlin Wall, provide the lens through which these notions are interrogated and applied in this doctoral research. Although differing in styles, they share ideas, commitment to process surface quality, technical skill and a classical painting education at the venerated Hochschule for Grafik und Buchkunst in Leipzig (Academy for Graphic Design and Buch Art). The Leipzig painters draw heavily on the history of painting and past culture, which is evident in their large-scale, discordant theatrical compositions. By tracing the influences of the Leipzig painters through select case studies, I aim to show that this ancient medium has continued relevance in the 21st century and how painting from the past continues to be a crucial factor in informing the present.
The creative component of the research examines how devices and strategies in figurative painting can successfully visually manifest notions of Event and Sensation as a bodily experience using the mise-en-scéne genre or the staged event. Select historical painters are referenced throughout the research, but Francis Bacon appears as the third solid key figure, as Deleuze’s Sensation is embedded in his unorthodox painting practice. I critically analyse strategies and devices deployed in his work and align them with that of the Leipzig painters. Insights gained from this are generated in my painting practice.
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Gettings, Michael. "Breaking Art Apart." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2036.
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The human figure, allegory, myth, and the appropriation of other artist’s compositions are elements in my work. I aim to update traditional stories to conform to contemporary times and culture. In addition, I am striving to create a new method to visually express figurative storytelling. Breaking from the traditional flat painting surface, I use multiple shaped panels. The surface is broken into different shaped panels at varying distances from each other and from the wall. This allows for more exploration into shape and negative space while depicting the dramatic height of a story. As part of this method, my paintings explore the discrete nature of human vision, or how we focus on individual parts of a scene while the brain filters the gestalt.
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Rafaelová, Kateřina. "As long as I don't remember who is wearing trousers anymore." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2021. http://www.nusl.cz/ntk/nusl-445698.
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The diploma thesis entitled As long as I don't remember who is wearing trousers anymore consists of a series of large-format paintings. The work is the result of the author's long-term interest in figural painting and especially in the pastel technique and its possibilities of depicting the atmosphere. Through the atmosphere of the image, the diploma thesis creates a space for narration and mystery. In the textual part of the diploma thesis, the author deals mainly with formal aspects of painting.
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Johnson, Perry Walter. "And This, Our Measure: Figurative Realism and Workaday Culture." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2151.
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Man has created vast and powerful systems. These systems and their associated protocols, dogmas, and conventions tend to limit rather than liberate. Evaluation based on homogeneity threatens the devaluation of our humanity. This paper and the artwork it supports examine contemporary culture and its failings in the stewardship of the humanist ideal.
My paintings referenced herein are satirical narratives. The story told is one of alienation and evisceration. The visual subject matter is the human figure and environments dominated by architectural geometry. The male figures are conspicuously turned from view, a visual cue to their estrangement. Parallel and subordinate thoughts from the fields of psychoanalysis, economics, religion, and political science will be discussed.
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McGuire, Tanner J. "Domestic Disturbance." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/569.
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My work explores domesticity, the role reversal happening in the family dynamics, the banality of home life, and the common escapism that occurs in parents. Men play a larger role in the home and women play a larger role outside the home blurring the lines of responsibility and changing expectations. This emasculating process often creates a power struggle within the home. These common issues are the fodder for my artistic practice. Domestic pattern, utility, sexual frustration, chaos and contentment all play a part.
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Masud, Rahat Haveed. "Materialising the spiritual in contemporary painting in Pakistan : an artist's exploration of figurative art and Sufism." Thesis, Kingston University, 2010. http://eprints.kingston.ac.uk/20229/.
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This practice led doctoral thesis explores the meaning of spirituality and its manifestation in figUrative art in the wider historical, religious and artistic contexts of Pakistan, alongside the presentation of a new body of artistic work which explores the contemporary possibilities of materialising spirituality in a predominately Muslim culture. The illustrated thesis engages with these two interconnected but distinct forms of research which underpin its two-part structure. The first part, Section A, comprises four chapters which investigate the various cultural and religious contexts of figurative art with particular reference to Muslim painting; Islamic attitudes to figurative art based upon the study of Islamic law and the various interpretations of the Qur'an and the hadith. It assesses the impact of colonial and postcolonial politics on the arts produced in the Indo Pak Sub-continent and the specific area that later came to constitute Pakistan (a pre-dominantly Muslim country) after the Partition of 1947. The section concludes with im exploration of Islamic spiritual ideals of truth and beauty, through Sufi thought, including the significance of for Allah and the concept of Tauhid. or His Oneness. The three chapters in the second part, Section B, represent a critical reflection on ongoing artistic practice as a female figurative artist in contemporary Pakistan. Drawing upon autobiographical material and fieldwork conducted at Sufi shrines as part this research, I discuss the series of more than twenty five paintings, drawings and siœtcnes which aim to materialise the spiritual. These are supported by a thirty minute documentation of the shrine culture with a voice over along with a video installation film on a DVD exploring the concept of fana or 'spiritual annihilation', which is the key aspect of the shrine culture. In conclusion the vital concern of finding means to materialise the concept of spirituality by creating a body of art work is an effort to fill the gap in Pakistani painting the impact of Sufi philosophy on artistic endeavours is yet to be fully explored in contemporary painting in Pakistan.
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King, Klinkenberg Susan. "Intervention in painting by Marlene Dumas with titles of engagement : Ryman's brides, Reinhardt's daughter and Stern." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003107.
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Pancheva-Kirkova, Nina. "How to create an ideal past : continuities from the Communist era in the relationship between abstract and figurative painting in post-Communist Bulgaria." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/384411/.
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By engaging with ‘realism’ in the context of Socialist Realism in Bulgaria, a notion that inhabits the space in between fine art, ideology and art history, this practice-based research offers new insight into the examination of continuities between fine art during Communism and post-Communism, exploring the relationship between the abstract and the figurative and their functioning both within, and exceeding, the pictorial space of painting. The two main research questions that inform the studio work and underpin this study have been: How can art practice explore the official representations of Socialist Realism in post-Communist Bulgaria in the axis between photography and painting? How can this process affect an understanding of the relationship between abstract and figurative painting within the context of ‘realism’ of Socialist Realism and contemporary fine art in the country? By focusing on these research questions, this study conceptualises the relationship between the abstract and the figurative in the context of Socialist Realism in fine art in Bulgaria and its official representations after the collapse of the Communist regime. This relationship marked one of the central oppositions in fine art during the Communist era in the country, often constituting a dividing line between what was considered ‘acceptable’ and ‘unacceptable’ art. This study is concerned with the differences in the definitions of ‘realism’ within Socialist Realism in Bulgaria over the years, differences which may be considered as ruptures in its development. Yet it acknowledges these differences within the framework imposed by the Communist ideology. The latter remained unchangeable, yet had a determining impact on the development of fine art throughout the Communist period. Furthermore, the study explores how fragments of this framework are transferred into the post-Communist period, and how they function in state-funded institutional representations of Socialist Realist works and in examples of former ‘official’ artists’ works, as well as in the readings of Socialist Realism after the fall of the Communist regime, readings which fluctuate between the oppositions of ‘official or unofficial’ art, praise or disavowal of Socialist Realism. In order to explore both the ruptures and the continuities, the research looks at Socialist Realism and its specificities in Bulgaria in relation to Socialist Realism in fine art in the Soviet Union and other post-Communist countries in Eastern Europe. The relationship between the abstract and the figurative is situated within this context and explored through a series of transformations of photographic sources into paintings. These transformations are performed by my practice, engaging with the photographic sources’ production, dissemination and display in relation to ‘realism’ in Socialist Realism.
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Cheval, Olivier. "Le partage de la douleur : une anthropologie figurative du cinéma contemporain." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2139.
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Ce travail part d’une double intuition de Georges Bataille. D’une part, une loi qu’il énonce au Collège de Sociologie : « Les êtres humains ne sont jamais unis entre eux que par des déchirures ou des blessures ». D’autre part, l’idée que les œuvres d’art sont, depuis Lascaux, les traces d’une archéologie de la vie communautaire des hommes, le chiffre d’un non-savoir sur la sphère du sacré qui fait tenir les hommes ensemble, à travers quelques figures-limites (le cadavre, les larmes, l’orgie, le sacrifice). Ces deux intuitions me permettent de définir l’anthropologie figurative comme la discipline qui cherche dans les images une pensée figurale de la communauté, et le partage de la douleur dans le cinéma contemporain comme l’un de ses objets privilégiés. Les pensées contemporaines de la communauté (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) m’autorisent cette hypothèse : le cinéma contemporain a désormais moins affaire à la construction politique d’un peuple qu’à la figuration de communautés trouvant dans l’événement du partage leur seule fin. Or, seul un travail figural peut contrevenir à la solitude du corps souffrant et défaire sa clôture pour l’inclure dans un groupe pathétique qui synchronise des gestes ou assemble des chairs. Le corpus international de films que je constitue autour de la survivance de figures de la communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) ou d’une figuration chorégraphique du soin (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) relève d’un réalisme figuratif qui demande à être étudié non pas sous l’angle d’une politique de l’esthétique (Jacques Rancière), mais d’une impolitique de la beauté. Soit l’idée que l’art est ce lieu où la puissance du pâtir et la puissance du partage, sans faire une politique, autorisent l’espoir d’une communauté prochaineThis work started with two crucial insights from Georges Bataille’s œuvre. On the one hand, Bataille formulated a law on the constitution of community in the Collège de Sociologie: “Human beings are only linked together by wrenches or wounds”. On the second hand, he elaborated the idea that works of art are, since Lascaux, the traces of an archaeology of men’s community life, the code of a “non-savoir” about the sacred sphere which ties men together thanks to some borderline figures (the corpse, the tears, the orgy, the sacrifice). These two ideas allow me to define figurative anthropology as the discipline that seeks a figural thought of community in images, and the sharing of pain as one of its privileged objects. Contemporary thoughts of community (Jean-Luc Nancy, Giorgio Agamben, Roberto Esposito) allow me to state this hypothesis: contemporary cinema is not pertaining to the political construction of a people but to the figuration of communities which find in this very sharing their sole purpose. Only a figural work can contravene to the loneliness of a suffering body and break its closed isolation into include it in a pathetic group that synchronises gestures and assembles fleshes. The international corpus of films that I put together about the survival of figures of communion (Joao Pedro Rodrigues, Pedro Costa, Béla Tarr, Steve McQueen, Bruno Dumont) or the choreographic figuration of care (Tsai Ming-liang, Apichatpong Weerasehtakul, Vincent Gallo, Gus Van Sant) comes under a figurative realism which has not to be studied from the point of view of the politics of aesthetics (Jacques Rancière), but of the impolitics of beauty: that is to say that art is the place where the capacity for suffering and sharing, without leading to a political construction, allows the hope of an imminent community
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Torcu, Asli. "Peinture réminiscente : surgissements, stratifications, dynamiques affectives." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080047.
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La réminiscence et l’apparition des images par des facteurs affectifs déclencheurs font partie inhérente du processus de création picturale qui est issue d’une nécessité intérieure. Les affects inscrits dans les souvenirs alimentent la force créatrice en s’actualisant par l’acte de réminiscence. C’est dans cette dynamique de l’intériorité que le langage pictural se forme en engageant la mémoire où le surgissement des images est soumis à l’affect. La métaphore de la nuit nous a permis d’interroger davantage l’incertitude de la mémoire et de l’état après le rêve, où les images d’intimité sont enfouies. La revalorisation de la subjectivité, de l’intime et du désir témoigne de l’intention d’une archéologie émotionnelle qui ramène la peinture à ses origines premières. Travaillant à partir des images d’images, les artistes contemporains explorent l’articulation du souvenir au présent. Nourrie de cet usage qui repose sur une interaction de l’ordre du « toucher » avec l’image, la « durée » picturale correspond à la réminiscence.La peinture, comme une forme intériorisée du réel, se déploie dans une mise en scène des multiples temporalités par une stratification de la matière picturale. Dans cet espace, le souvenir s’actualise dans la sensation de la couleur. En tant que qualité affective, la couleur permet d’exprimer le climat émotionnel attaché à un souvenir et de rendre visible l’affect. La surface du tableau est un tissu chaotique, mais également génératrice d’ « accidents proustiens », de retrouvailles et d’énigmes. Ici, la mémoire est la source d’où émane l’imaginationThe reminiscence and the appearance of images triggered by the emotional factors are inherited in the process of pictorial creation that comes from the inner necessity. By becoming actualized by the act of reminiscence, the affects inscribed in the memories nourish the creative force. In these dynamics of interiority, pictorial language is formed by the engagement of the memory. The emergence of images is subject to affect in the memory. The metaphor of the night has allowed us to question further the uncertainty of the memory and the after-dream state, where the images of intimacy are buried.The increase of subjectivity, the intimacy and desire reflect the intention of an emotional archaeology that brings the painting back to its origins. The use of images of the images in the contemporary artist’s works explores the connection of remembrance with the present. The pictorial time length, nurtured by this use based on an interaction between the emotional “touch” and the image, corresponds to the reminiscence.Painting, as an internalized form of the real, spreads out in a staging of multiple temporalities by a stratification of pictorial matter. In this space, memory refreshes itself in the sensation of the colour. As an affective quality, the colour enables the expression of the emotional climate attached to a remembrance and makes the affect visible. The surface of the painting is a chaotic material, but also source of "Proustian accidents," reunions and enigmas. Here, memory is the origin from which emanates the imagination
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Pfarr, Theresa Faye. "PAINT MEDIATIONS." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd_retro/132.
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AbstractPAINT MEDIATIONS Theresa Faye Pfarr, Master of Fine ArtA thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Art at Virginia Commonwealth University.Virginia Commonwealth University, 2004Major Director: Ruth Bolduan Associate Professor, Painting and Printmaking DepartmentMy paintings are contentions. I work in response, answer, and reaction to the media world. I carry a collection of incongruent images in my mind, bits and parts of the images I deal with everyday. The images stuff my mailbox, clutter my space and get in my head. I am questioning, though praising, the exploits of advertising and its mode of symbolic function. Whether their exploits are ethical is really of no concern to me in comparison to our cultural belief systems, which allow them. Advertising doesn't exploit children more than they are exploited already. In my paint investigations I forge and draw parallels to relocate meaning, as does the media. Through painting figure into space and space into figure things begin to dissolve or evolve, making the paintings both figure and of figure. The children in my paintings claim their spaces and close out the adult world.
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Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.
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Vacquier, Stéphane. "Rebeyrolle, Paul (1926-2005) : peintre français des IVe et Ve républiques." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3116.
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Tels que l’historiographie de l’art les a enregistrées, l’œuvre de Paul Rebeyrolle et sa carrière (1945-2005) posent question au-delà de cette définition stricte, base factuelle d’une hypothétique notice d’encyclopédie : qu’est-ce qu’un peintre français des IVe et Ve républiques ? Paul Rebeyrolle est connu pour être méconnu, reconnu, toujours, comme un excellent peintre, loué par certains comme l’un des plus importants de la période, en France, mais demeure réduit à la portion congrue de l’histoire de l’art contemporain français, lorsque celle-ci juge bon de le mentionner. Il a pourtant bénéficié d’un succès précoce, dans les années 1950, dans le sillage d’un Bernard Lorjou ou, surtout, d’un Bernard Buffet, avant de subir un désaveu équivalent. Un marchand aussi important qu’Aimé Maeght et des préfaciers aussi renommés que J.-P. Sartre ou M. Foucault n’y auront rien changé. En cela, il est exemplaire de tout un pan de l’art français qui, avec la Ve république et sa politique culturelle, semble avoir été déclassé pour un certain nombre de raisons qu’il reste encore à évaluer : différends esthétiques, mésententes plastiques, dénis hérités de la querelle des abstraits et des figuratifs, non-dits liés à la question de l’engagement politique de l’artiste, imprécisions ou partis-pris critiques et légèreté des commentaires journalistiques friands de poncifs... Autant de malentendus qui ont contribué à brouiller la juste appréciation de son œuvre et l’ont tenu éloigné d’une véritable reconnaissance institutionnelleThe way they’ve been retained by Art historiography, Paul Rebeyrolle’s work and his carreer (1945-2005) appear to be problematic beyond this strict definition, factual basis for an hypothetical encyclopedia entry : what defines a French painter under the 4th and 5th republics ? Paul Rebeyrolle is well-knowed for being under-estimated, always acknowledged as a great painter, sometimes even praised as one of the most important painters of that period, in France, but still limited to the smallest share of the French history of contemporary art, when this one finds it appropriate to mention it.Yet he benefited of an early success, during the 50’s, in the wake of painters such as Bernard Lorjou and especially Bernard Buffet, before enduring a similar disavowal. An art dealer as important as Aimé Maeght and preface writers as renowned as Jean-Paul Sartre or Michel Foucault didn’t make any difference. Thus, he appears to be paradigmatic of an entire part of French art which, under the 5th republic and its cultural policy, seems to have been downgraded for a certain number of reasons that still needs to be evaluated : aesthetic disagreements, plastic discords, denial inherited from the abstract and figurative painters’ quarrel, unsaid things about the artist’s political commitment, art critics’ vagueness and preconceived opinions, journalistic frivolity fond of clichés... As many misunderstandings that led to interfere with a fair appraisal regarding his work and prevented him from ever getting a real institutional recognition
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Paquet, Bernard. "Déconstruction et des constructions /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1988. http://theses.uqac.ca.
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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1988.Ce travail de recherche a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en arts plastiques extentionné de l'Université du Québec à Montréal à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU
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Torcu, Asli. "Peinture réminiscente : surgissements, stratifications, dynamiques affectives." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080047.
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La réminiscence et l’apparition des images par des facteurs affectifs déclencheurs font partie inhérente du processus de création picturale qui est issue d’une nécessité intérieure. Les affects inscrits dans les souvenirs alimentent la force créatrice en s’actualisant par l’acte de réminiscence. C’est dans cette dynamique de l’intériorité que le langage pictural se forme en engageant la mémoire où le surgissement des images est soumis à l’affect. La métaphore de la nuit nous a permis d’interroger davantage l’incertitude de la mémoire et de l’état après le rêve, où les images d’intimité sont enfouies. La revalorisation de la subjectivité, de l’intime et du désir témoigne de l’intention d’une archéologie émotionnelle qui ramène la peinture à ses origines premières. Travaillant à partir des images d’images, les artistes contemporains explorent l’articulation du souvenir au présent. Nourrie de cet usage qui repose sur une interaction de l’ordre du « toucher » avec l’image, la « durée » picturale correspond à la réminiscence.La peinture, comme une forme intériorisée du réel, se déploie dans une mise en scène des multiples temporalités par une stratification de la matière picturale. Dans cet espace, le souvenir s’actualise dans la sensation de la couleur. En tant que qualité affective, la couleur permet d’exprimer le climat émotionnel attaché à un souvenir et de rendre visible l’affect. La surface du tableau est un tissu chaotique, mais également génératrice d’ « accidents proustiens », de retrouvailles et d’énigmes. Ici, la mémoire est la source d’où émane l’imaginationThe reminiscence and the appearance of images triggered by the emotional factors are inherited in the process of pictorial creation that comes from the inner necessity. By becoming actualized by the act of reminiscence, the affects inscribed in the memories nourish the creative force. In these dynamics of interiority, pictorial language is formed by the engagement of the memory. The emergence of images is subject to affect in the memory. The metaphor of the night has allowed us to question further the uncertainty of the memory and the after-dream state, where the images of intimacy are buried.The increase of subjectivity, the intimacy and desire reflect the intention of an emotional archaeology that brings the painting back to its origins. The use of images of the images in the contemporary artist’s works explores the connection of remembrance with the present. The pictorial time length, nurtured by this use based on an interaction between the emotional “touch” and the image, corresponds to the reminiscence.Painting, as an internalized form of the real, spreads out in a staging of multiple temporalities by a stratification of pictorial matter. In this space, memory refreshes itself in the sensation of the colour. As an affective quality, the colour enables the expression of the emotional climate attached to a remembrance and makes the affect visible. The surface of the painting is a chaotic material, but also source of "Proustian accidents," reunions and enigmas. Here, memory is the origin from which emanates the imagination
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Mészáros, Flóra. "Hungarian Artists in Abstraction-Creation." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040088.
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Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs ou son histoire ont été largement négligés. Le constat est le même pour l’état de la recherche relative à chacun des membres hongrois : jusqu’à présent, seule la participation de Béothy et de Martyn a été analysée en détail. Outre l’objectif principal de cette thèse, notamment la mise en perspective des artistes hongrois dans le groupe, la réévaluation et l’interprétation de l’ensemble de l’activité d’Abstraction-Création sont également mises en lumière. A la base d’une analyse théorique et historique, ce travail compare Abstraction-Création avec deux groupes parisiens non figuratifs. Cette thèse vise à clarifier les différences qui les séparent en soulignant qu’Abstraction-Création ne peut pas être considéré comme une combinaison des deux. Grâce à des documents jusqu’alors non analysés, l'auteur donne un aperçu de la structure organisationnelle de ce forum et discute, à partir d’une perspective entièrement nouvelle, le rôle du comité, leurs débats, leur formation, cessation et leurs plateformes, y compris les réunions, la galerie et le cahier. La thèse démontre la relation entre Abstraction-Création et Surréalisme au moyen d'une analyse stylistique et théorique. Elle prétend que, grâce aux activités des membres hongrois, toutes les facettes du groupe peuvent être présentées. L'auteur révèle quels ont été les objectifs initiaux de l'adhésion des membres hongrois et comment ils ont tiré profit de leur participation. La thèse décrit la période abstraite parisienne des artistes hongrois dans les années 1930, et ce, dans un contexte artistique international et dans un contexte historique plus largeThis dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background
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Heckel, Nicolas. "Le rythme de la figuration." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10118.
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Cette étude vise à développer la notion de figuration hors des jalons établis par les sciences de l’image et du langage, sans remettre en question les domaines spécifiques de l’iconologie et de la sémiologie. Elle s’appuie pour cela sur deux champs d’investigation principaux : l’expérience de la peinture, poïétique et esthétique, et la philosophie. Il s’agit plus précisément d’amener l’expérience intime du faire, du voir et du faire-voir, à l’éclaircissement d’une certaine conscience figurale : que signifie « représenter » pour la conscience créatrice ? Quels processus psycho-sensoriels sont en jeu dans l’acte de figurer ? Comment définir la liberté d’action du peintre face, d’un côté, à sa part d’inconscience, et, de l’autre, au déterminisme de l’imitation ?Il ne s’agit donc pas d’étudier la peinture figurative, par opposition à la peinture abstraite, gestuelle, informelle…, mais la tendance intime qui, dans n’importe quel tableau, donne à voir des configurations. Une figure peut être fidèle aux apparences, tout juste allusive ou totalement détachée du monde visible (comme un cercle parfait ou une simple tache de peinture), elle détient toujours une puissance d’évocation, ainsi qu’une capacité à se conglomérer avec d’autres et à inspirer des rapports logiques. Figurer ne signifie pas clicher le monde visible, mais, d’une manière qui reste encore à définir, laisser émerger des schèmes animés, favoriser le surgissement de motifs imaginaires ; entités primitives, identitaires, fondatrices de notre mode d'habitation du mondeThis study is aimed to develop the notion of representation beyond the reference points established by the image and the language sciences, without challenging the specific fields of iconography and semiology. It is based on two main domains of investigation : painting experiment, both poïetic and esthetic, and philosophy. More precisely, it consists in bringing the intimate consciousness of making, seeing and making someone see to the clarification of a kind of figurative awareness : what does « representing » mean to the creative consciousness ? Which psycho-sensorial processes are in play in the action of representing (i-e painting recognizable shapes) ? How could we define the painter’s freedom of action in relation to, on the one hand, his/her unconsciousness and, on the other hand, the determinism of imitation ?Thus, this work is not about studying representational painting, as opposed to abstract, informal or action painting, but the intimate tendency which, in any painting, shows outlines. A figure may be true to life, hardly allusive or totally unconnected to the visible world (like a perfect circle or just a paint spot), it always has an evocation power, as well as an ability of mixing with other figures and inspiring logical links. Representing does not mean taking a picture of the visible world but in a way that still has to be defined, it means enabling alive schemes to appear, encouraging the springing up of imaginary designs, primitive, identifying, founding entities of the way we live in this world
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LEVA, SHANNON ARMSTRONG. "JACKSON POLLOCK'S 1942 PAINTINGS: DEPICTIONS OF HERMAPHRODITIC UNION." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195578410.
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Adams, John. "The problems of applying theories of depiction to non-figurative art." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5266.
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Generally speaking depictive theories attempt to explain the experience of looking at paintings and drawings, in particular they describe the process by which a viewer makes sense of a surface that has been intentionally marked in such a way as to describe some thing in the world. Depictive theories have generally been developed with reference to figurative work where the viewer is able to recognize the depicted object(s). The aim of this thesis is to determine the extent to which they apply to non-figurative work, what is commonly referred to as abstract art, and to identify what factors can influence the understanding and interpretation of such work. The method used is a combination of theory and practice. An analysis of theories of depiction and of contemporary scholarship on the subject is undertaken. Using the results of this work and by reference to the key concepts of these theories an analysis of specific artworks is carried out in a series of case studies. The purpose of the case studies is to identify, in the first instance, how certain theories of depiction can be seen to apply. In other words how they explain the experience of looking at a figurative artwork. The case study approach is an essential element of the methodology of the project. It is used, initially, to interrogate a work by Titian that is, arguably, readily explained by ‘traditional’ depictive theories. The procedure evolved for this analysis is then applied to the less figurative works of Auerbach and Twombly and from this process a non-iconographic approach to depiction is developed which is tested by application to my own work and to that of two contemporary artists. The thesis concludes that a comprehensive theory of depiction must allow for such factors as material and facture and that, as a result of this research, the meaning of the term ‘depiction’ can, under certain conditions, be extended to include for non-figurative work. It suggests that some theories may usefully be modified to accommodate the findings of this research. Dominic Lopes argues that ‘a complete account of pictures should explain abstract pictures as well as figurative ones.’ This thesis is seen as making a contribution to the development of any such account.
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Perinelle-Beguerie, Catherine. "Les nouvelles figurations à Bordeaux dans la décennie 1960 - 1970." Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1002.
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Au début des années 1960, émerge un nouveau courant d’expression artistique en Europe et particulièrement en France avec une peinture figurative appelée Nouvelle Figuration. Exposée dans des galeries parisiennes, elle prit un caractère plus officiel en étant présentée au Musée d’art moderne de la Ville de Paris, au sein de l’ARC créé en 1966 comme espace de recherche et d’expositions dédié à de nouveaux talents. Ces différentes manifestations encouragées par plusieurs critiques d’art permettent à ce nouveau courant de rayonner en dehors de la capitale. Parallèlement, à Bordeaux, toute une génération d’artistes explore à son tour ces nouvelles figurations, mais l’accueil qui leur est réservé apparaît des plus contrastés. Durant une dizaine d’années, quelques galeristes isolés encouragent la diffusion de cette peinture narrative en mettant en perspective les productions bordelaises et parisiennes. Les institutions muséales de la ville, quant à elles, ne leur accordent alors que très peu d’attention. Aussi, la plupart de ces artistes tentent de faire carrière à Paris. Certains y parviennent après avoir réussi à exposer dans des galeries et à obtenir une première reconnaissance critique. Auréolés de leur accueil parisien, certains d’entre eux parvinrent à mieux s’imposer sur la scène artistique bordelaise au début des années 1980, sans que le Centre d’arts plastiques contemporains, créé en 1974 à Bordeaux (et devenu Musée d’art contemporain en 1984), ne cherche davantage à les promouvoir. Cependant, portés par le mouvement de décentralisation artistique qui émerge dans les années 1980, plusieurs de ces peintres narratifs bordelais parviennent à se faire reconnaître dans d’autres villes de province et même hors des frontières nationales.Sortant d’une longue période de conservatisme, Bordeaux commence à peine à découvrir et à s’intéresser à la Nouvelle Figuration par l’intermédiaire du festival Sigma, dédié aux recherches artistiques contemporaines. En revanche, la programmation, plus internationale que française, que propose alors le Capc musée d’art contemporain ne favorise guère la promotion des artistes locaux. Cette situation contrastée semble pouvoir expliquer la réception mitigée qu’a connue la figuration des années 1960 et 1970 sur la scène artistique bordelaiseEarly 1960s, a brand new artistic movement was born in Europe and more particularly in France with figurative painting called Nouvelle Figuration. Shown in few galleries in Paris, it became a more official thing when presented to the Musée d’art moderne de la ville de Paris, within the ARC department created in 1966 as a room for artistic research and exhibition for young talents. These various exhibitions, supported by few critics, allowed this trend to expand beyond French capital’s borders. Simultaneously in Bordeaux, a whole generation of artists also explored all these aspects of Nouvelle Figuration. The reception of their art creations is more contrasted however. During almost ten years, few isolated gallery owners encouraged the diffusion of this narrative painting, putting in perspective productions from both Bordeaux and Paris. However, museum institutions in the city did not pay much attention to them. Hence, most of these artists tried their way in Paris. Few succeeded, after their first exhibitions in Paris galleries allowed them to gain recognition from critics. Glorified by this reception in Paris, some of them managed to better impose themselves onto Bordeaux art scene early 1980s. But the Centre d’Arts Plastiques Contemporain, created in 1974 (then renamed Museum of Contemporary of Art in 1984), did not try to promote them. Nevertheless, motivated by artistic decentralization emerging during these years, some narrative painters from Bordeaux succeed in being acknowledged in other towns and even outside France. Exiting a long period of conservatism, Bordeaux hardly started to discover and get interest in this Nouvelle Figuration through the Sigma festival, dedicated to modern art research. However, the programing, more international than French, offered at that time by the Centre d’arts plastiques, Museum of Contemporary of Art of Bordeaux, did not favour much local artists promotion. This contracted situation may explain the mitigated reception of this figuration in 1960s and 1970s in Bordeaux art scene
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Wang, Chain Khiang. "Using autobiographical figuration in painting as a vehicle for conveying my understanding of Buddhism." Thesis, New School of Arts, University of Ballarat Mt. Helen, Vic. :, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/68573.
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Whearty, Lauren Ann. "Making Space: Language, Painting, Poem." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1307394266.
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Guérin, Philippe. "Résurgence classique dans la peinture contemporaine : le filtre de la modernité." Thesis, Strasbourg, 2019. https://publication-theses.unistra.fr/restreint/theses_doctorat/2019/GUERIN_Philippe_2019_ED520.pdf.
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Aujourd’hui, des résurgences classiques prennent une place importante dans la peinture contemporaine. Cette thèse explore ces modes de réapparition après leur traversée de la période de l’art moderne, d’où l’hypothèse d’un « filtre » de la modernité. Le terrain de recherche, spécifiquement défini pour aborder le tableau peint, est nommé en la circonstance « le plan pictural ». Les processus de survivance des images sont observés pendant leurs migrations, puis sur la manière dont la rémanence de ces antériorités les réactive alors au cœur de la scène artistique internationale. Enfin, cette mémoire est convoquée et étudiée avec des variables d’ajustement en fonction de l’histoire et de la géographie. L’exposé s’organise en 6 chapitres. Le premier définit le terrain de recherche. Le deuxième présente trois peintres vivants revendiquant une filiation classique. Les trois suivants explorent la problématique à travers des textes d’auteurs confrontés aux peintures sélectionnées. Enfin le dernier chapitre conclut les recherches par un retour sur expérienceThe revival of classicism today plays an important role in contemporary painting. Classicism re-emerged after spanning the period of modern art; this thesis explores the different means through which this resurgence materialized, hence the hypothesis of a “filter” of modernity. The framework of this research, called “pictorial map”, is defined specifically to tackle the medium of painting. This thesis first examines the continued survival of these images during their different stages, then the ways in which the persistence of classicism imbues them with new life within the heart of the international art scene. Finally, this memory of these images is studied through the lens of various historical and geographical perspectives. The thesis is structured in six chapters. The first defines the framework of research. The second presents three live painters, each of whom is classically influenced in his work. The following three explore the topic through the analysis of texts by authors confronted to the aforementioned paintings. Finally, the last chapter concludes the research with relevant feedback
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Tooth, Constance. "Hand to Ground." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32948.
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(Constance) Stanzie Tooth’s thesis exhibition titled, Hand to Ground, explores ideas of origin; both the mythology of a personal origin as well as the origins of painting and representation. Interrogating the history of landscape painting, the exhibition skews notions of identity by reconsidering representations of the landscape. Inspired by Margaret Atwood’s novel Surfacing, and paired with reminiscences of her childhood in rural Ontario, Tooth’s paintings unfold oblique narratives of a communion with land. These questions of personal ecology are filtered through an intense material expression, reinforcing the idea of coming into being.
The exhibition was on view at the Karsh Masson Gallery in Ottawa from August 1st to September 10th, 2015.
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Schwartzmann, Saulo Nogueira. "Semiótica da composição pictural: o jogo tensivo entre o figurativo e o plástico na Série das Ligas de Wesley Duke Lee." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-09122014-171140/.
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Esta dissertação tem como objeto a Série das ligas, de Wesley Duke Lee, e a examina do ponto de vista da semiótica tensiva. Seu objetivo principal é verificar como se dão as operações no plano da expressão cuja semiótica se apoia nas articulações entre as ocorrências concretas (substâncias) e os sistemas de posições vazias, as estruturas; nesse sistema de estrutura, essas ocorrências assumem valores, ora de esvaziamento, ora de preenchimento. O jogo entre um e outro ocorre em um contínuo tensivo que oscila entre uma configuração mais plástica e outra mais figurativa, o que nos permite depreender um andamento mais acelerado ou mais desacelerado a depender das escolhas enunciativas. Inicialmente, abordamos a abstração e a figurativização nas artes plásticas, contemplando objetividade e subjetividade. Em seguida tratamos do erotismo, da modalização bem como da enunciação e do programa semiótico do erotismo. Ainda no desenvolvimento ocupamo-nos das escolhas enunciativas de expressão e conteúdo focalizando, inteligível e sensível na pintura e, particularmente, na obra de Duke Lee. Focalizamos também coerções artísticas de estilo e de gênero, assim como os efeitos de linha e cor entre desenho e pintura. Foi ainda objeto de exame a semiose das linhas, em que tratamos de sua tonicidade. Finalmente cuidamos de operações da substância da expressão e de seus efeitos na linguagem plástica. O que nos levou a considerar a relação de contraste e valores bem como a relação sintáxica na Série das ligas. Fecha a dissertação um conjunto de observações, entre as quais se destaca a de que o artista elege elementos expressivos que se orientam de valores mais extensos a mais intensos, sugerindo o alcance da liberdade das coerções miméticas das figuras do universo erótico para atingir operações das substâncias em formaThis dissertation aims Wesley Duke Lees Série das ligas, examining it from a tensive semiotics point of view. The main goal is to verify how operations occur on expression foreground where semiotics rests on articulations between concrete occurrences (substances) and the hollow systems positions, the structures; on this structure system, this occurrences assume values, either of emptiness or filling. The play between one and other occurs in continuous tensive which varies between a more plastic configuration and a more figurative one, what allows an either more accelerated or more decelerated progress depending on enunciative choices. Initially, abstraction and figurativization on plastic arts were contemplated with objectivity and subjectivity. Hereupon, erotism modalization, enunciation and the semiotic program of erotism were explored. Throughout development, expression enunciative choices and content were focused, aiming the intelligible and the sensitive in painting and, particularly, in Duke Lees work. Stile and gender artistic coercions were focused, as well as line and color effects among drawings and paintings. Other object of study was the semiosis of lines in which its tonicity was prospected. Finally, the substance of expression operations and its effects on plastic language were explored. That brought contrast and value into consideration as well as the sintaxic relation on Série das ligas. Towards the end, a combination of observations were made, among which we highlight that the artist selects value oriented expressive elements that are more or less extensive, suggesting the freedom of reach of the figure mimetic coercions of the erotic universe, to achieve substance operations in form
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Baggio, Luca. "Iconografia di sant'Antonio al Santo di Padova nel XIII e XIV secolo: Spazi, funzioni, messaggi figurati, committenze." Doctoral thesis, Università degli studi di Padova, 2013. http://hdl.handle.net/11577/3423845.
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This study examines the iconography of St. Anthony in the 13th and early 14th centuries at the church which houses his tomb (commonly known as ‘il Santo’). The research focuses on the role of the Franciscans in the development of this iconography, as promoters and, in several cases, patrons.
No image of St. Anthony of the 13th century has been preserved in the Basilica. For this reason, the research examines the church (the context of figurative works now lost) and the tomb of the saint (the ideal center of the sanctuary). It is suggested that in the 13th century images of St. Anthony existed in the central portal, in some niches in the inner facade, on the high altar, in the windows of the radiating chapels. Some miniatures of the late 13th century seem to confirm the existence of lost paintings.
The oldest image of St. Anthony preserved (probably early 14th century), painted in the lunette of the old door of the Sacristy, is discussed in relation of its location.
The fresco cycle in the Chapter Hall of the convent is examined in detail, as a turning point of the iconography of St. Anthony.
Because of the transformations suffered by the room, new investigations are proposed on the architectural structures of the room; the photoplan of the east wall has been realized with a hypothetical reconstruction of the original dimensions of the frescoed scenes.
The iconographic analysis highlights the centrality of the image of St. Anthony and leads to new hypotheses about the meanings of the paintings, commissioned by friars of the Santo. The functions of the Chapter Hall are investigated in detail, as well as some written sources, such as points of reference for the elaboration of new images of St. Anthony.
The proposed chronology of the paintings is the first decade of the 14th century, a period of radical changes for the Franciscan community of Padua and for the entire Order of Friars Minor.
The frescoes are attributed to Giotto, probably before the cicle in the Arena Chapel. The hypothesis is confirmed by the impact of these paintings on artists of North-East Italy and Rimini.
Finally, the remains of frescoes in the space now called 'andito' are investigated in close relation with the adjacent Chapter House: it is very likely that here some images of St. Anthony was present and relevant.Questo studio prende in esame l'iconografia di sant'Antonio presso la basilica padovana che conserva il suo corpo (nota comunemente come 'il Santo') nel secolo XIII e agli inizi del XIV. La prospettiva di ricerca è incentrata sul ruolo dei francescani nell’elaborazione dell'iconografia antoniana, come promotori e, in diversi casi, come diretti committenti. Non essendosi conservate al Santo immagini duecentesche di sant'Antonio, l'indagine prende in esame l'architettura della basilica (il contesto delle eventuali opere figurative oggi perdute) e la tomba del Santo (centro ideale del santuario). Viene avanzata l'ipotesi che esistessero immagini antoniane duecentesche nel portale centrale della facciata, nelle nicchie della controfacciata, sull'altare maggiore, nelle vetrate delle cappelle radiali. Alcune miniature tardoduecentesche sembrano confermare l'esistenza di opere pittoriche perdute. La più antica immagine antoniana conservatasi, databile tra fine Duecento e inizio Trecento, posta nella lunetta della porta della sacrestia, viene analizzata in rapporto alla sua collocazione. Viene successivamente esaminato in dettaglio il ciclo affrescato nella sala del capitolo del convento antoniano, che si qualifica come un punto di svolta per l'iconografia antoniana. Sono proposte nuove indagini sulle strutture architettoniche della sala, che ha subito molte trasformazioni. È stato realizzato il fotopiano della parete est, su cui si è proiettata un'ipotetica distribuzione originaria delle scene affrescate, oggi in stato frammentario. La rilettura iconografica del ciclo mette in evidenza la centralità delle immagini di sant'Antonio e giunge a nuove ipotesi sui significati dei dipinti, voluti dai frati del convento del Santo con precisi scopi comunicativi. Vengono indagate le funzioni che questo spazio svolgeva all'interno del convento e sono analizzate alcune fonti scritte locali, quali punti di riferimento per interpretare le innovative immagini antoniane presenti nel ciclo pittorico. La cronologia dei dipinti proposta è il primo decennio del Trecento, una fase di radicali e complessi cambiamenti nella comunità francescana di Padova e per l'intero Ordine dei Minori. Gli affreschi vengono attribuiti a Giotto, probabilmente prima del ciclo di pitture nella cappella degli Scrovegni, anche tenendo conto del loro impatto nell'area del nord-est italiano e presso i pittori riminesi. Infine vengono presi in considerazione i resti di affreschi nel vano oggi adibito ad 'andito' della portineria del convento, in stretto rapporto con la contigua sala capitolare, e si ipotizza la possibilità che anche qui l'immagine di sant'Antonio fosse presente e rilevante.
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Coatleven-Brun, Angélique. "La peinture prise aux Lettres : ou comment définir une troisième structure visuelle en art." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00748596.
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La présente recherche s'attache à mettre en relief l'un des aspects particuliers de l'art : la peinture.Il s'agit, à la suite d'une pratique personnelle cultivée depuis plu¬sieurs années et explorant les relations complexes entre expression plastique et intégration de la lettre écrite, de réfléchir sur l'entité singulière qu'est l'écriture.C'est alors que, conjuguant le travail plastique et le travail de recher¬che, se conduit cette étude dont l'objectif se fonde et se développe autour de la question des rapports texte/image au sein des œuvres peintes traversant et construisant l'ensemble de l'histoire de l'art occidental.En 1924, l'artiste Paul Klee (1879-1940) déclare :" Ecrire et dessiner sont identiques en leur fond " . Un cloisonnement entre les disciplines littéraires et pictu¬rales fait néanmoins foi depuis des siècles et ce malgré l'étymologie commune des ter¬mes " écrire " et " dessiner " formulée à partir du mot grec grapheïn . Mais, au regard des pratiques artistiques menées par les cubistes, tels le po¬choir ou le papier collé, par les futuristes, tel le bouleversement des co¬des de composition et de mise en page, par Dada, telle la destruction du langage, par les surréalistes, telle l'" écriture automatique ", par les lettristes, telle la prise en compte de la singularité de la lettre même, et par l'Art conceptuel envisageant l'écrit comme une matière à l'œuvre, nous voyons que les liens tissés entre le domaine iconique et le domaine textuel se renou¬vellent cons¬tamment et mérite un examen approfondi.Ainsi, notre recherche organise et analyse les différents usages concédés à la lettre par l'univers pictural. Elle met en valeur son intégration, son implication, son évolution et sa résonnance dans le champ visuel. La tra¬duction des modalités plastiques de l'écriture, après l'observation d'œuvres contemporaines comme celles de Jenny Holzer, de Claude Closky ou de Ta¬nia Mouraud, fait émerger l'indice d'une nouvelle organisation actuelle des codes graphiques qui, après le règne de la figuration et celui de l'abstraction en art, explore le graphème comme une matière picturale première et à part entière. Paul KLEE, Théorie de l'art moderne, Gallimard, Paris, (1956), 1998, p. 58. Bruno DUBORGEL, Figures du grapheïn, Publications Universitaires de Saint-Etienne, Saint-Etienne, 2000, pp. 11-12. " Grapheïn... A/ Primitivement, égratigner, écorcher... B/ Par suite, tracer des signes pour écrire ou pour dessiner, d'où : I/ Graver... II/ Ecrire... [...] Le verbe graphô est attesté depuis Homère. Sens : "érafler" (Cf. Iliade 17, 599), tracer, dessiner, écrire, d'où rédiger un décret, etc. ", extraits du Dictionnaire Grec-Français d'André Bailly (16e édition, Hachette, Paris, 1950) et du Dictionnaire étymologique de la langue grecque de Paul Chantraine (Histoire des mots, Klincksieck, Paris, 1968).
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Dimova, Temenuzhka. "Le langage des mains dans les arts figurés en France (1604-1795)." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAG022.
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Le langage iconographique des mains est un système conventionnel utilisé par les peintres afin de doter les personnages de leurs oeuvres de fonctions discursives, affectives et symboliques particulières. La lecture des gestes figurés nous a ainsi permis de révéler des nouvelles structures narratives. Les différents signes gestuels sont étudiés ici en fonction de leurs origines, usages, connotations et stylistiques dans l’art français des XVIIe et XVIIIe siècles. Dans l’objectif de comprendre le potentiel sémantique de la main et son implication dans les oeuvres d’art, nous avons sollicité des écrits issus de champs épistémiques multiples. Lors de ce travail, nous avons souligné l’importance de la chirologie, discipline explorant les configurations signifiantes des mains et leurs possibles applications. Les gestes picturaux ne fonctionnent pas uniquement de manière isolée mais sont impliqués dans des schémas d’interaction, raccordés au genre et à la composition de l’oeuvre. L’étude du langage des mains favorise le dialogue entre l’histoire de l’art et d’autres disciplines scientifiques, engagées dans des questions de perception, de représentation et de mémoireThe iconographic language of the hands is a conventional system used by the painters in order to provide some particular discursive, affective and symbolical functions to their characters. In our work, we show that the analysis of the figurative gestures reveals new narrative structures. The different gestural signs are studied according to their origins, usages, connotations and stylistics in the French art of the 17th and 18th centuries. With the aim of understanding the semantic potential of the hand and its implication in the works of art, we referred to multiple epistemic fields. In this study, we underline the importance of the chirology, discipline exploring the meaningful configurations of the hands and their possible applications. The pictorial gestures are not isolated but involved in interactional schemas, connected to the genre and the composition of the work of art. The study of the language of the hands favours the dialogue between the History of art and other scientific disciplines,engaged in the questions of perception, representation and memory
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Lauterio, Ryan. "Kingdom Compossible." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1821.
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Does God exist? Can we know for sure? What might it mean to know this? Furthermore what might it look like to make works of art while also seeking to find answers to these questions? This thesis details my personal experiences growing up in a world steeped in postmodernism and my move to answer such questions while looking to develop a meaningful, clear worldview and body of work. I have turned my focus on specific episodes in my life, which significantly illuminate a progression of thinking and experience. Together these thoughts and experiences have become the impetus for both questions and propositions embedded within the long haul of my work culminating in my thesis exhibition.
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Martini, Fátima Regina Sans [UNESP]. "O 'Grupo Tapir'e a pintura de casarios (1960-1980)." Universidade Estadual Paulista (UNESP), 2004. http://hdl.handle.net/11449/86996.
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martini_frs_me_ia.pdf: 6530425 bytes, checksum: 488d5f2b90e42c9541ceaf8ee9505801 (MD5)Universidade Estadual Paulista (UNESP)
Nos anos 1960 a 1980, alguns artistas seguiram na contramão da chamada arte de vanguarda ou da arte dos ismos, pintando principalmente casarios - seqüências de casas geminadas, freqüente no estilo arquitetônico colonial brasileiro - um assunto empregado em determinadas pinturas de paisagens urbanas. O tema foi amplamente consumido, ainda que possa ter sido considerado ultrapassado no período. Os artistas viveram de sua arte e participavam ativamente das exposições promovidas pelas principais galerias e mostras oficiais, assim como dos leilões de arte fomentados pelos mais importantes leiloeiros. Até o pesente, a pintura referente à atmosfera colonial é mencionada nos cursos de arte, prossegue comercialmente viável e é explorada nas grandes mostras. A nossa investigação partiu da proposta de valorização e do resgate do tema, observando a produção de alguns artistas paulistas, os quais constituíram o 'Grupo Tapir'. Através do cenário artístico paulista, inserimos os nomes dos mestres responsáveis pela formação do grupo. Esboçamos uma biografia dos cinco integrantes do 'Grupo Tapir' e a respectiva análise de suas obras a partir dos preceitos de iconografia de Erwin Panofsky (1892-1968), em Significado das Artes Visuais. Buscamos assim definir os valores perceptivos simbólicos, expressivos e emocionais dos casarios, como obra de arte no contexto da pintura de paisagens, relecionando os devaneios e sonhos relativos aos significado das casas, segundo as obras filosóficas de Gaston Bachelard (1884-1962).
From 1960 to 1980 some artists followed the wrong way in the called vanguard art or the art of the 'ismos', painting mainly casarios - sequence of houses, constantly old a topic used in cetain urban landscape's paintings. The theme was throughly consumed, however it can be considered outdated in the period. The artists lived their art and participated actively of the exhibitions promoted by the main galleries and official shows, as well as the auctions fomented by the most important auctioneers. Until now, the painting regarding the colonial atmosphere is reference in the art courses, it continues commercially viable and it is explored in the great displays. Our investigation began with the proposal of valorization and rescue of the theme, observing some artist's production fom São Paulo production, who constitued the Group Tapir. Through the paulista artists scenery we insert the responsible masters name for the formation of gourp.Sketched a biography about the five members of Group Tapir and athe respective analysis of their works starting from the iconography deductions of Erwin Panofsky(1892-1968), in Meaning in the Visual Arts. With this, we intend to define the perceptive, symbolic, expressive and emotional values of the casarios, as work of art in the context of the landscape's painting relating the dream and the relative dreams to the meaning of the houses, according to the philosophical works of Gaston Bachelard (1884-1962).
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Fu-Lien, Wu, and 吳府廉. "From Figurative to Non-figurative: A Creative Study of Chinese Painting." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/20812115287355667581.
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Urbanski, Miranda. "PERFORMATIVE GESTURES An Exhibition of Painting." Thesis, 2009. http://hdl.handle.net/10012/4394.
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My painted self-portraiture explores identity as changing social performance or
masquerade and examines bodily flesh as the vital interface for reciprocal encounter on
life’s stage. The larger-than-life sized images demand viewer attention and compel intersubjective engagement. The works also affirm artistic agency and subjective presence through gestural brushwork and the vivifying power of oil paint. Hybridity and ambiguity in the images suggest the dynamic and reflexive nature of identity. A theatrical colour palette further reinforces the notion of identity as social performance or masquerade. Conceptually the works are rooted in both post-modern feminism and phenomenology. Artistically they draw inspiration from contemporary figurative painters and portraitists who use this medium and genre to navigate the boundaries of self and society.
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Wang, Chiung-Hsia, and 王瓊霞. "Reproduction of Traditional Chinese Paper for Infill Treatment Used in Chinese Painting - A Case Study of Restoring Figurative Painting by Wang Wen." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/42605978668567072981.
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碩士國立臺南藝術大學
古物維護研究所
96
Infill losses is a very important restoration treatment for Asian Paintings that the conservator is looking for the similar material to match the original in weight, texture and color in order to harmonize the image of painting after treatment. Generally, paper selection for infill losses is limited in traditional painting-calligraphy paper , but the paper is not completed suitable for conservation demand. The research from conservation consideration is making appropriate infill paper under handsheet machine by analyzing the fiber content first, and then thickness, laid and chain lines which depend on each object and these information will be used in making and applied to each case. A case study of ink and color on Traditional Chinese Paper by Wang-Wen dated Ming Dynasty (1540 A.D.) according to the signature of the artist on this painting. However date-disputable it is, it is necessary treated and check the material for the painting by examining the whole condition of the case. The case study is discovered that most holes caused by insect, losses, inappropriate infill (thick and oversized infill paper) and creases or crack. Under close examination, it is repaired with unsuitable and improper treatment. Not only paper-making for conservation used but also infill technology is main researching. Compare the reproduction with traditional Chinese paper (WangLiuGi Zha-Hua 1993年汪六吉扎花) purchased by the paper store which is close to the case study with weight and texture. The primary result was presented the reproduction is more stable than Zha-Hua through test for basis weight, thickness, pH and CIE L*a*b* system before-and after-aging. Keyword：Fiber, Paper-making, Infill Paper, Losses, Conservation and Preservation
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Ford, Larkin H. "Discount Meat." 2017. http://scholarworks.gsu.edu/art_design_theses/225.
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In the narrative painting series Discount Meat, I employ grotesque realism to emphasize the rupture of corporeal and social boundaries, reframing the body as a site of discontinuity whose physical and perceptual structures are in constant flux. Through this approach, I synthesize fragments of lived and observed experience into invented narratives with an emphasis on embodiment. By emphasizing the apertures connecting the body’s interior with the outside world, I seek to problematize the image of a discrete self, suggesting instability as a central element of physical identity. Across this web of disjointed narratives, I strive to portray the emotional range and complexity of human experience in terms of vivid physicality, depicting tedium and pain while allowing space in the work for levity and imagination.
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MORAVCOVÁ, Soňa. "Doteky." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-112215.
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This diploma is devided into two major parts. Theoretical and practical. In the theoretical part I consider the meaning of touch which is ambiguouse. Fist of all it should express, by the form of art, our desire and necessity to establish into relationship with another human-being, get in touch and get to know each other. By the time of working at this cycle my form is beginning to change. Touch doesn´t only express relationship but they´re also recording my touching, getting to know myself. The practical part of my thesis focus on production figures. It consists of a cycle of paintings, fiberboard of various sizes made by acrylic technique. These paintings capture directly human bodies in positions of touching, proximity, delay. They capture the joy in positions of direct touch againts deprivation when a person is deprived of contact with another person. The starting point of this thesis is personality and emocionality.
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Shu-Ying, Fu, and 傅淑英. "Study and Appliance on the Skill of“Contour Linear”-The Falsehood versus Reality in Figurative Painting." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/32432856689620579751.
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碩士中國文化大學
藝術研究所美術組
98
This thesis would focus on the development process of western painting history and put forward the form figurative painting from the times of the Middle Ages to early 20th century to study the ways of expression for “contour linear.” It has respectively employed the skill of “Falsehood vs Reality” in order to see what would be the effect of image for investigation. In coping with the personal experience of the author during the process of creation, it is hoped to make use of the research approach of this thesis to act in concert with the relationship actually obtained. And the ultimate objective is to carry out investigation through this research to establish painting style and approach of creation development of the individual. This thesis is, in total, found in five chapters to elaborate its research results. Of the first chapter, it has put forth the research and creation motive, scope, and methodology, rendering verification in between of the elaboration on the creation process of individual against “Falsehood vs Reality” expression techniques.In the second chapter, it has compiled the functions of nod, line, plane, color, and light source to the falsehood vs reality expression relationship of contour linear. Then, it would investigate how vision can be preliminarily constrained by the function of nod, line, plane, color, and light source, and then create programmed image. In addition, how the difference of falsehood vs reality expression techniques of contour linear can ultimately painting-ness to render the qualitative appreciation of viewers for figurative object.In the third chapter, it would conduct analysis and comparison: in western painting history, it is to investigate what is the content and manner demonstrated by painters using “line” and “color field” for primary expression of “contour linear;” besides, their style and creation belief are organized to delineate and correlate their difference. In the fourth chapter, it is to expound the creation belief of individual and display their works for appreciation. As for conclusions at the fifth chapter, it is to propose the process of personal creation on the domain of arts, and it is hoped that, from the study results from this thesis, to proffer with effect of substantial enhancement regarding skills and concept on creation for painting.
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Pillemer, Mica Y. "Vision and Contemplation: An Exploration Within the Medium." 2009. https://scholarworks.umass.edu/theses/298.
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This thesis is an exploration of various issues concerning composition in painting. In it I take a step by step approach to advancing the compositional thought process. Within that exploration the central issues of painting are confronted and expanded upon.
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Tinsley, Victoria. "Double Distance." 2016. http://scholarworks.gsu.edu/art_design_theses/203.
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My thesis exhibition Double Distance is an installation of paintings and sculptures exploring my changing relationship with myself and with my mother as she succumbs to a degenerative brain disease. Through the intersection of surrogate life-size figures made from found objects alongside and within paintings of hugging bodies, the exhibition reveals the simultaneous enmeshment and separation that occurs in caring for my mother. In repeating similar figures within and outside the painted surface, the exhibition reflects on the act of caregiving and the desire to reproduce what is loved and that which has been lost. The works included in the exhibition not only serve as preemptive memorials to my mother, but they also stand as monuments to resilience. The resulting exhibition Double Distance highlights the challenges of holding on and how sculpture and painting can serve as proxies for reconnection.
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House, Felice Louise. "Portraiture and feminine identity." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2860.
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To portray women without objectifying them is an intentional, political act. The art historical tradition is to paint women to extol their sexual beauty and to encourage possessiveness. There is a new guard of women painters who provide a counterpoint to this tradition by depicting a more multifaceted version of the female psyche. I align myself as an artist with them by attempting to broaden the depiction of women as subjects in painting. My subjects are beautiful and observable, but not consumable. They are more public than private and more iconic than intimate. My paintings have a strong connection to traditional portraiture in both style and technique. However, my subjects are contemporized through the use of modern fashion, unexpected facial expressions, unique color relationships and photographic cropping.text
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Nadkarni, Priya. "Heard or Dreamed About." 2014. https://scholarworks.umass.edu/masters_theses_2/61.
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Chaitow, Tanya School of Arts UNSW. "Nothing personal." 2007. http://handle.unsw.edu.au/1959.4/44254.
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The autobiographical nature of my work deals with the space between the innocence of childhood and the wisdom of adulthood. I explore the complexities of personal experience, old and new landscapes and the scar tissue of memory. The work deals with beginnings and departures, relationships and conflict of power and vulnerability in the quest to make sense of life. My work connects with moments of childhood that I try to retain as a touchstone for authentic experience. The images are derived from personal and familial experiences, moving through to the universal to tell the human tale, using the human body as a metaphor. The body becomes the subject matter for expressing ideas about our universal and personal concerns. I explore the gulf between the real and the unreal through examining themes such as identity, vulnerability, anxiety, fear, alienation, abandonment, loss, corruption of innocence, love and death within a contemporary urban framework. These emotions are played out against the backdrop of daily domesticity and reflect the physical reality of the world around us, often exposing the contrast between the orderly veneer of our daily lives and our emotional reality. My work methodology uses narrative found in books, films, fairy tales or fables to explore the conflicting emotions which structure human identity and interaction. I use the stories as a way of approaching ideas or emotions and exploiting the story as a focus of cultural knowledge. In the search for emotional truth I draw parallels between my art practice and the search for authenticity within the theatre. My work is an attempt to explain my own creative process in relation to the artists who have influenced me, my childhood, its rich tradition of storytelling and my passion for theatre and literature as well as a search for meaning in my own relationships and life's journey. This is conveyed through a series of paintings and works on paper.
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"the Wanderer." Thesis, 2013. http://hdl.handle.net/10388/ETD-2013-01-906.
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A reflective essay to accompany the thesis exhibition, the Wanderer, installed in the Gordon Snelgrove Gallery, 2013. An exploration of the questions and concepts informing the process of developing and refining the visual vocabulary of my practice. Images of women, topographical maps, floral imagery and astronomical maps provide the vocabulary of the language and syntax that I am developing to enunciate the interrelationships between the construction of self and lived experience, with concepts of identity, body and gesture, history and place.
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Solty, Tom. "The spectacle of painting : personal development within painting and the belonging aspects." Master's thesis, 2021. http://hdl.handle.net/10451/49874.
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Esta dissertação é sobre a experiência da pintura (a experiência de pintar) na era da pós-internet e estrutura-se nos resultados de pesquisas das sociedades educadas ocidentais. Como é que o acesso efetivo às tecnologias da informação afeta o trabalho artístico e criativo? Como é que interfere nas escolhas de cada indivíduo e no seu desenvolvimento artístico? E porque é que o processo de crescimento e de independência é tão importante para o auto-conhecimento (pessoal e artístico)? Para responder a estas perguntas e aos assuntos que lhes são inerentes é necessário contextualizar sobre qual foi a minha área de interesse pessoal nos últimos dois anos, que passei em Portugal. Portanto, minhas experiências pessoais e as respectivas pesquisas plásticas, teóricas e conceptuais sobre os vários temas que me interessam fundem-se e vêm sublinhar a investigação pela pintura como um campo de questionamento criativo e artístico. Para salientar o aspecto pessoal, tomo a liberdade de falar na primeira pessoa ao longo de todo o documento. A investigação que se segue está ligada a uma série de pinturas que vão ser expostas na Faculdade de Belas-Artes de Lisboa entre 8 e 18 de Junho de 2021. A selecção desta série de oito pinturas é especial porque mostra o resultado do meu desenvolvimento artístico durante os últimos 2 anos, em Lisboa; reflecte os meus interesses, o desenvolvimento técnico pictórico e a minha forte ligação à pintura figurativa nos dias de hoje. Um dos meus objectivos nesta investigação foi pensar sobre a pintura que desenvolvo e que vou apresentar. Neste sentido, apresento o leque de informações que é inerente ao meu projecto pictórico, primeiro, para documentar e reforçar as motivações pessoais que o originaram e, depois, para ajudar o leitor ou observador identificar-me como o autor destas pinturas, especificamente, e neste movimento compreender quais os temas e conceitos que me interessam.
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Lin, Cheng-Jung, and 林政榮. "Rambling in the human World—New Expression of Ink-Brush figurative Paintings." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/61505370703523697284.
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碩士國立臺灣師範大學
美術學系在職進修碩士班
93
Random Walk in the People World—New Explanation of Modern ink- wash Character Paintings The purpose of this paper is to explain the thinking approach about character painting of ink and wash from traditional to modern style. In order to approach the essence of modern ink and wash paintings, I use the classical technique of “poetry, Chinese character, painting, seal cutting”, combining with characters and masks, to present my feelings of reality. This paper is organized as follows: I first present the research motive, purpose, scope and creation method. After that, I illustrate the origination and styles of ink- wash character painting from Chinese traditional linear character painting to transformationism, and then character painting under western art impact and the development of character painting from 19-20 century. I introduce the mask culture and Taiwanese character paintings, then material forms, presentation technique. The topics are divided into four parts: mask series, folk series, love series and Chinese character series. Modern ink-wash character paintings must combine with life, tradition, content, and future. It not only contain the dimensions of life, politics, social and humanism, but also the mix of “poetry, Chinese character, painting, seal cutting”, folk art, mount and screen.
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Fang, Shih-Min, and 范詩敏. "Analyzing the Childlike Non-figuration Painting in the Works of Paul Klee and Joan Miró." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/r2jvyq.
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碩士國立臺北藝術大學
美術史研究所
99
This study employs literature reviews, key document analysis and artwork style and form comparing analysis as its research methods to examine Paul Klee（1879-1940）and Joan Miró''s（1893-1983）childlike non-figuration painting. Mutually comparing within the theory of children''s painting, the development of Paul Klee and Joan Miró''s creative conceptions, and with the children''s drawings, its investigate these issues:1. What are the meaning and feature of the childlike non-figuration paintings? 2. Compare with the artists'' and children''s paintings could find and identify the objective meanings of the "childlike non-representation". During the nineteenth century and the early half of twentieth century, Paul Klee and Joan Miró were living, in while the art movement had a trend trying to find some new express, leading the artists paid attention to primitive art, folk art and children''s art increasingly. Those elements such as: artist living style, painting learning, creative experience, interest in, concern and pursuit with the childlike elements, put those together into the "childish" performances by the refined and pure process. Artists'' "childlike" works possesses same common features as children''s works: 1. The form of simple, concise expression; 2. Intuitive, spontaneous presentation, not adhere to a certain form rigidly; 3. Using vivid vocabulary of lines; 4. to deal the objects scatted on space with the depth of field uniquely; 5. "plane motif" been often used within children''s art form; 6. As stories and narrative to describe the life experience and daily observation. In short, children''s eyes with former logic, primitive, subconscious transform into paintings by the clear lines, bright local color, a simple structure and story, to present "naive" world.
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McKetta, Dorothy Jean. "The Leo Castelli Gallery in Metro magazine : American approaches to post-abstract figuration in an Italian context." 2012. http://hdl.handle.net/2152/18520.
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Between the years 1960 and 1970, New York gallerist Leo Castelli was closely involved with Milanese editor and publisher Bruno Alfieri's Metro magazine--an international review of contemporary art. By placing his artists in Metro, Castelli inserted them into the world of Italian art criticism and theory. This recontextualization familiarized the American artists of Castelli's gallery to a European audience and positioned them at the end of a succession of modern European styles. Specifically, Castelli's artists, each of whom engaged in a form of pictorial figuration, were seen as ending the dominance of the "pure" abstraction of the French informel style. This thesis uses the archive of correspondence between Bruno Alfieri and Leo Castelli to examine Castelli's contribution to Metro during the 1960s. Departing from this chronology, it also seeks to understand the unique brand of figuration that each of Castelli's artists brought to Metro, given cues from contemporary Italian theory and criticism--particularly that of Gillo Dorfles, who wrote on several of Castelli's artists.text