Dissertations / Theses on the topic 'Histoire Lithographie'

La lithographie d'après les peintres en France est un phénomène artistique majeur au XIXe siècle, jusque-là négligé par les historiens d'art. Née en Allemagne en 1798, la découverte de Senefelder est rapidement diffusée en Europe. Apres un premier essai franco-anglais de traduction des chefs-d’œuvre du Louvre, la lithographie d'interprétation connait en Allemagne une vogue sans précèdent dont le modèle se propage en Europe. La tradition du burin académique en France oppose sa prééminence au nouveau procédé, notamment dans la copie des maitres anciens. Néanmoins dès son introduction en France, les artistes s'emparent de la nouvelle invention, et développent un art original, tout en lui confiant la traduction de leurs œuvres. Or les peintres furent particulièrement attachés à leurs droits de reproduction, comme le révèle leur position vis-à-vis de la loi de 1841 relative à la propriété intellectuelle. La lithographie d'interprétation connait son apogée entre 1840 et 1860, avec Mouilleron et l'équipe de Bertauts, qui ont su la faire apprécier comme un art véritable. Son déclin à partir des années 1860 est en fait celui de l'estampe d'interprétation en général.

La lithographie n'est pas seulement une technique parmi d'autres, c'est aussi le moteur d'un bouleversement dans le monde de l'image au XIXeme siècle. Née avec le début du siècle elle le marquera tout en évoluant techniquement vers la photographie. L'angle choisi pour ces recherches est celui de l'imprimeur, souvent négligé par rapport aux artistes. Tous ces imprimeurs-lithographes, en majorite d'origine modeste et dont l'age varie entre 35 et 45 ans, sont arrivés par hasard ou par ambition à la lithographie. Généralistes pour la plupart, certains se sont specialisés dans un genre d' image. Peu connue dans son ensemble, cette profession est pourtant bien intégrée au sein des métiers du livre. Quelques noms ont traversé le siècle comme celui de Rose-Joseph Lemercier, l'homme d'affaire ambitieux mais sensible à la lithographie artistique. Parcourant sa carrière, les images d'artistes comme Achille Deveria, Eugène Ciceri, Rodolphe Bresdin ou Odilon Redon cotoient celles d'affiches et d'estampes populaires. La production immense de cette imprimerie complète l'étude du parcours de son fondateur, de l'artisan vannier au chef d'entreprise en plein coeur de Paris, et ouvre les perspectives des multiples utilisations du procédé, notamment dans l illustration du livre
Lithography is not only a new technique among others, it is also the impulse of an overthrow in the world of picture during the nineteenth century. Born with the century, this invention will mark it, evolving technically toward photography. These researches focuse on the printers often reglected as compared to the artists. All those lithographic printers, mainly of modest origin, because lithography by accident or ambition. Most of them were general printers albeit a few were specialized in a particular type of picture. Little known on the whole, this profession was really a part of the book business. A few names are still known today, among these is Rose-Joseph Lemercier, ambitious business man sensitive to artistic lithography. During his career, pictures from artists like Achille Deveria, Eugene Ciceri, Rodolphe Bresdin ou Odilon Redon are printed along with posters or popular prints. The important production of this printing-works conclude the study of his founder, from his activity of basket-maker to the position of head in his firm, and shows the perspectives of the numerous uses of this new technique, especially within illustrated books

Jean-Baptiste Isabey (1767-1855) connaît une carrière exceptionnellement longue qui s’étend de la Révolution au Second Empire. Après avoir exposé ses premières œuvres au Salon de 1791, cet élève de Jacques-Louis David s’impose sur la scène artistique du Directoire comme le premier dessinateur et miniaturiste de son temps. En s'inscrivant dans un contexte favorable à la diffusion de portraits de moindre coût et de moindre format, sa réussite peu commune rend compte de l'évolution des critères de la reconnaissance artistique à la fin du XVIIIe. Elle témoigne également de la promotion du statut social de l'artiste autour de 1800. Lié aux proches du clan Bonaparte sous la Consulat, Isabey est un des portraitistes de la période les mieux introduits auprès des élites. Son habileté à exploiter des sujets qui répondent aux goûts de ses contemporains permets de mesurer l'importance des relations mondaines dans la naissance et la diffusion des réputations artistiques au tournant du XIXe siècle. Entre 1800 et 1805, Isabey est l'auteur de plusieurs grands dessins de propagande qui scandent les principales étapes de la consolidation du nouveau pouvoir. Familier de la noblesse impériale, l'artiste accumule honneurs et commandes officielles au lendemain du Sacre. Sa réputation est associée aux portraits miniatures de l’Empereur destinés à la caisse des présents diplomatiques et à quelques-unes des plus célèbres représentations officielles de Marie-Louise et du roi de Rome. Ses responsabilités sont extrêmement variées et sa production considérable : il est à la fois peintre des relations extérieures, dessinateur du cabinet et des cérémonies et décorateur en chef de l'Opéra. L'étude de ce parcours pluridisciplinaire offre un champ d'étude remarquable, qui nous fournit bien des clefs pour comprendre la carrière et le statut des artistes de cour sous l'Empire. Après Waterloo, Isabey est mis à l’écart du pouvoir en raison de ses engagements bonapartistes. L'artiste exécute alors plusieurs caricatures et portraits qui le montrent prompt à critiquer la monarchie restaurée. L'analyse des effets de la résistance au régime royaliste dans le monde des arts entre 1815 et 1820 aide à saisir le sens de son engagement dans l'opposition. La période qui s’ouvre au lendemain des Cent-Jours est également fondamentale pour comprendre le parcours artistique d'Isabey et pour apprécier la place que lui assignèrent ses contemporains dans l’art de la première partie du XIXe siècle. Son abondante production, qui se décline en miniatures sur vélin, dessins, lithographies, aquarelles et peintures à l’huile le montre soucieux de l'évolution du goût. Elle met aussi en lumière la difficulté qu'il éprouve à conserver sa réputation de portraitiste après 1820. Cette thèse fournit pour la première fois un catalogue de l’œuvre d'Isabey
Jean-Baptiste Isabey (1767-1855) had an exceptionally long career that spanned from the French Revolution until the Second French Empire. After his early works' exhibition at the Salon of 1791, this student of Jacques-Louis David rapidly became, on the art scene of the French Directory, the finest artist and miniaturist of his time. In a context that made the dissemination of low-cost and small-sized portraits easier, his unusual success reflects the change of artistic recognition criteria in the late eighteenth century. It also reflects the improvement of the social status of artists around 1800. Linked to people that were close to Bonaparte under the French Consulate, Isabey is one of the period's best introduced portraitists. His cleverness in using themes that meet his contemporaries' tastes clearly shows how important social relationships can be in the making and spreading of artistic reputations at the turn of the nineteenth century. Between 1800 and 1805, Isabey is the author of several large propaganda drawings that punctuate the main steps of the new power's consolidation. Familiar with the imperial nobility, the artist collects honours and official commissions in the wake of the Coronation. His reputation is associated with miniature portraits of the Emperor made for the fund of diplomatic presents and with some of the most famous official representations of Marie-Louise and of the King of Rome. His responsibilities are manifold and he produces a lot: he is the official painter for external relations, designer of the Cabinet, designer of Ceremonies and chief decorator of the Opera. The study of this multidisciplinary career gives many keys to a better understanding of the career and status of court artists under the Empire. After Waterloo, Isabey is sidelined because of his bonapartist commitments. At this time the artist performs several caricatures and portraits where he clearly criticizes the freshly restored monarchy. Analysing the effects of this resistance to the royalist regime in the world of arts between 1815 and 1820 helps in understanding his commitment to the opposition. The period opening in the aftermath of the Hundred Days is also fundamental to understanding Isabey's artistic career and to appreciate the place he was assigned by his contemporaries in the art of the first part of the nineteenth century. His prolific output, which comes in miniature on vellum, drawings, lithographs, watercolours and oil paintings shows his constant concern about changing tastes. It also highlights the difficulty he has to maintain his reputation as a portraitist after 1820.This thesis provides for the first time a catalogue of Isabey's works

The history of printing is dominated by studies of mechanical typography. In this thesis the role of lithography in modernising printing is presented as an alternative path. The conventional explanation of how different printing processes work is generally made by dividing them into relief, intaglio and planographic processes. This explanation is of questionable value now, in a world where digital pre-press and offset printing hold sway. It is an outmoded idea to think that different ways of delivering ink under pressure is at the core of printing. Instead, it is more useful to focus our attention on the role played by direct and indirect image transfer. The similarities between the uses made by Gutenberg and Senefelder of direct and indirect image transfer has a greater importance than has the simplified division of printing processes into classes based upon depth of impression which is, essentially, a mechanical idea grounded in the typographic tradition. The idea presented here is that Gutenberg's application of indirect image transfer in his invention of moveable type provoked changes of greater importance than did the alternative invention of printing illustrations directly from metal plates or wooden blocks. Similarly, direct lithography was transformed by Senefelder into a vehicle for indirect image transfer by the invention of lithographic transfer paper. This invention had important ramifications for the future of lithography and for the preservation of photographic images. The combination of chemical printing and indirect image transfer made the capture of photographic images possible for the first time. In the nineteenth century, lithography also provided the first means by which photographs could be reproduced with printing ink in books - typography following here rather than leading the way. These issues have not been clearly recognised by many. The widely acknowledged superiority of typography to print economically, sharply, and at speed, was not surpassed by lithographers (who tended to concentrate on technical illustration and decorative printing) for many years. It was not until indirect image transfer was applied to the lithographic press that this barrier to progress was overcome, and, at last, text and image were efficiently transferred photographically to the rotary offset press.

Hippolyte Bellangé a connu une longue carrière qui s’est étendue de la Restauration au Second Empire. Après avoir exposé ses premières peintures au Salon de 1822, cet élève de Jean-Antoine Gros s’impose rapidement dans le milieu comme l’un des principaux chantres de la légende napoléonienne. Élevé en pleine gloire et effervescence du 1er Empire, il appartient à une génération d’artistes qui, au lendemain de Waterloo, va transposer dans son œuvre toute une palette de mélancolie et de nostalgie envers cette rutilance passée, tout autant entraperçue que fantasmée. Le succès de Bellangé, fortement corrélé à un contexte propice à la propagation de la légende napoléonienne, donne un aperçu intéressant sur les évolutions de l’opinion publique d’une part, et des attitudes politiques d’autre part, vis-à-vis de la figure de Napoléon Bonaparte. Ses œuvres se caractérisent en outre par l’application qu’il met dans l’évocation et la description du quotidien. Son installation à Rouen lui donne notamment l’occasion de créer une iconographie renouvelée de la campagne normande. Homme public et artiste aux multiples facettes, sa carrière a par ailleurs été marquée par son activité de conservateur du musée des Beaux-arts de Rouen. Ce parcours pluridisciplinaire nous offre un champ d’étude remarquable et une documentation précieuse sur la carrière et le statut des artistes du milieu du XIXe siècle. L’analyse de la vie et de l’œuvre d’Hippolyte Bellangé, resituées dans leur contexte politique, nous offre enfin l’occasion de questionner les notions d’art engagé, d’art populaire et d’art patriote dans les années qui ont suivi le 1er Empire
Hippolyte Bellangé had a long career that extended from the Restoration to the Second Empire. After exhibiting his first paintings at the Salon of Paris in 1822, this disciple of Jean-Antoine Gros quickly established himself in the artistic environment as one of the main promoters of the Napoleonic legend. Raised during the full glory and effervescence of the First Empire, he belonged to a generation of artists who, the day after Waterloo, transposed into their work a whole palette of melancholy and nostalgia towards that past glow they half-caught a glimpse of, half-fantasized about. Bellangé's success, which was strongly correlated to a context that was supportive to the spread of Napoleonic legend, gives an interesting insight into the evolution of public opinion on the one hand, and political attitudes on the other, towards the figure of Napoleon Bonaparte.His works are also characterized by the application he puts into the evocation and description of everyday life. His moving to Rouen gave him the opportunity to create a renewed iconography of the Norman countryside. Simultaneously a public figure and a multifaceted artist, his career has also been marked by his position as curator of the Musée des Beaux-arts of Rouen. This multidisciplinary background definitely offers a remarkable field of study and a valuable documentation on the careers and the status of artists in the mid-nineteenth century. The analysis of the life and work of Hippolyte Bellangé, reviewed in their political context, finally gives us the opportunity to question the notions of committed art, popular art and patriotic art in the years following the First Empire

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Esta pesquisa tem como objetivo analisar as narrativas visuais, vinculadas à memória da indústria gráfica regional, tomando-se como investigação o estudo da implantação da primeira casa litográfica comercial do Estado de Minas Gerais, a Litografia a vapor Pietro Biancovilli. A fonte principal da pesquisa é o Álbum 6 de litografias pertencente ao acervo do Arquivo Histórico da Fundação Museu Mariano Procópio, que contem 130 exemplares de impressos comerciais pertencentes a essa litografia. Buscou-se, também, a análise em fontes documentais encontradas no Setor de Memória da Biblioteca Municipal Murilo Mendes, no Arquivo Histórico de Juiz de Fora e no Arquivo Público Mineiro, onde foram examinados periódicos e documentos relativos à chegada e à produção do litógrafo italiano Pietro Angelo Biancovilli. O recorte temporal se inicia em 1888, quando o emigrante chega ao Brasil, e termina no ano de 1914, quando se encerram suas atividades comerciais. Consoante com as proposições da História Cultural, esta pesquisa concebe o exame das práticas e representações imagéticas, forjadas no âmbito da cidade de Juiz de Fora em fins do século XIX e décadas iniciais do século XX.
This research has the purpose to analize the visual accounts linked to the memory of local graphic industry, studying the settling of the first commercial lithography house in the State of Minas Gerais, the steam litography Pietro Biancovilli. The main source of the research is the “Álbum 6” of lithographies belonging to the collection of the Historical Archive of the Mariano Procópio Museum Foundation, with 130 pieces of commercial prints belonging to this lithography. It has been analized documental sources found in the Memory Department of the Municipal Library Murilo Mendes, in the Historical Archive of Juiz de Fora and in the Public Archive of Minas, where it has been examined periodicals and documents related to the arrival and production of the italian lithographer Pietro Angelo Biancovilli. The time researched begins in 1888, when the foreigner arrives to Brazil, and it ends in the year of 1914, when he closes his commercial activities. Regarding to the propositions of Cultural History, this research conveives the examination of practices and representations of images, forged in the Juiz de Fora life in the end of 19th Century and in the first decades of the 20th Century.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Jean Baptiste Debret (1768-1848), the French painter from the Neoclassical school, came to Rio de Janeiro city in 1816, to help creating an academy of fine arts, in the molds of the one in France, during the Dom João VI government in Brazil. Developing paintings and drawings in the streets of the empire s capital, Debret carried out a detailed study about the Portuguese court s life, as well as of the black men and women lives who worked in a wide range of services; this study will create his great work Historical and Picturesque Voyage to Brazil . This research analyzed one of his litographies, entitled Free Negresses Earning a Living From their Works , from Historical and Picturesque Voyage... , trying to understand the painter s purpose to elaborate his discourse about how the free negresses that worked in Rio de Janeiro City lived.
Jean Baptiste Debret (1768-1848), pintor francês pertencente à Escola Neoclássica francesa, veio para a cidade do Rio de Janeiro no ano de 1816, ajudar na criação de uma Academia de Belas Artes, nos moldes franceses, durante o governo de Dom João VI no Brasil. Desenvolvendo trabalhos de pintura e desenho nas ruas da capital do Império, Debret realizou um estudo minucioso sobre a vida da corte portuguesa nos trópicos, bem como as vidas de negros e negras de ganho que trabalhavam nos mais variados serviços; esse estudo vai dar origem à sua grande obra Viagem Pitoresca e Histórica ao Brasil . Esta pesquisa analisou uma de suas litografias, intitulada Negras livres vivendo de sua atividades , que se encontra no segundo tomo da Viagem Pitoresca... , buscando compreender a intenção deste pintor ao elaborar um discurso sobre como viviam as negras livres que trabalhavam na cidade do Rio de Janeiro.

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Esta tese procura refletir sobre a coleção Las Mujeres Españolas, Portuguesas y Americanas, publicação composta por três volumes de textos abordando espaços territoriais na Espanha, América e Portugal e por litografias – comercializadas em separado –, produzida no decorrer da década de 1870 na Espanha, e que fez uso da simbologia feminina para representar tais espaços. Essa obra constitui-se, ao mesmo tempo, em fonte e objeto desta pesquisa. Neste estudo, parte-se da hipótese de que essa coleção possui um sentido político e configura-se em produção material que constrói uma representação simbólica das características nacionais espanholas, elaborando um discurso sobre si, perceptível no conjunto de sua concepção, produção e composição. Foi produzida na segunda metade dos oitocentos, sob a raiz do movimento romântico e moldada pela estética costumbrista – gênero que se destacou por descrever tipos sociais, hábitos, costumes e tradições. Sobre a temática feminina, partiu-se do pressuposto de que imagens idealizadas de mulheres foram utilizadas para tocar os imaginários sociais pelo que representavam – amor, submissão, honra, fecundidade, educação, abnegação – e também como símbolos dos novos tipos sociais que surgiam em cena nos espaços nacionais que se configuravam perante as transformações européias. O hispanismo, discurso ideológico pautado nas experiências comuns e espírito espanhol, permeou toda a coleção, e este trabalho sustenta a hipótese de que não só referendou, mas construiu e disseminou esse ideário. Por fim, defendeu-se que tanto a linguagem textual como a iconográfica localizaram e salientaram elementos formadores das sociedades espanholas, revelando origens, tradição, peculiaridades e singularidades desses povos – sob o signo feminino – que remetiam à problemática do caráter nacional espanhol.
This proposition tries to disclose on the collection Las Mujeres Españolas, Portuguesas y Americanas, a publication composed by three tomes of texts which discuss the territorial spaces in Spain, America and Portugal and by lithographs - separately sold -, produced in Spain during the 1870 decade, using the feminine symbology to represent those spaces. This work consists of, at the same time, origin and object of this research. This treatise starts with the hypothesis that this collection has a political meaning and happens to have a material production which builds a symbolical representation of the Spanish national characteristics, elaborating a “self-speech” about itself, perceptible on the entirety of its conception, production and composition. It was introduced on the second half of the XVIII century, under the roots of the Romanticism and molded by the costumbrista esthetics – gender that distinguished itself by describing the social models, habits, uses and traditions. From the feminine themes, the treatise starts from the pretext that the use of idealized images of women were used to reach the social imaginary of what they represented – love, submission, honor, fecundity, education, self-denial – and also as symbols of the new social types that emerged in the national spaces that appeared in the face of the European transformations. The hispanism, ideological speech based on the common experiences and on the Spanish spirits, pierced all the collection, and this treatise supports the hypothesis that it not only countersigned, but built and spread this ideas. And, last but not least, defended that both textual language and iconography placed and emphasized the elements which built the Spanish societies, revealing origins, tradition, peculiarities and singularities of this people – under the feminine sign- that alluded to the a set of problems of the Spanish national character.

Two images of British India persist in the modern imagination: first, an eighteenth-century world of incipient multiculturalism, of sexual adventure amidst the hazy smoke of hookah pipes; and second, the grandiose imperialism of the Victorian Raj, its vast public buildings and stiff upper lip. No art historian has focused on the intervening decades, however, or considered how the earlier period transitioned into the later. In contrast, Art in India's 'Age of Reform' sets out to develop a distinct historical identity for the decades between the Charter Act of 1813 and the 1858 Government of India Act, arguing that the art produced during this period was implicated in the political process by which the conquests of a trading venture were legislated and 'reformed' to become the colonial possessions of the British Nation. Over two parts, each comprised of two chapters, two overlooked media are connected to 'reforms' that have traditionally been understood as atrophying artistic production in the subcontinent. Part I relates amateur practice to the reform of the Company's civil establishment, using an extensive archive associated with the celebrated amateur Sir Charles D'Oyly (1781-1845) and an art society that he established called the Behar School of Athens (est.1824). It argues that rather than citing the Company's increasing bureaucratisation as the cause of a decline in fine art patronage, it is crucial instead to recognise how amateur practice shaped this bureaucracy's collective identity and ethos. Part II connects the production and consumption of illustrated print culture to the demographic shifts that occurred as a result of the repeal of the Company's monopolistic privileges in 1813 and 1833, focusing specifically on several costume albums published by artists such as John Gantz (1772-1853) and Colesworthy Grant (1813-1880). In doing so, it reveals how print culture provided cultural capital to a transnational middle class developing across the early-Victorian Empire of free trade. Throughout each chapter, the gradual undermining of the East India Company's sovereignty by a centralising British State is framed as a prerequisite to the emergence of the nation-state as the fundamental category of modern social and political organisation. Art in India's 'Age of Reform' therefore seeks not only to uncover the work and biographies of several unstudied artists in nineteenth-century India, but reveals the significance of this overlooked art history to both the development of the modern British State, and the consequent demise of alternative forms of political corporation.

Aquesta tesi doctoral analitza l’evolució del sector de les arts gràfiques a Barcelona durant la segona meitat del segle XIX, moment en què va passar de ser una manufactura a ser una indústria, centrant-nos en els seus protagonistes: els establiments d’impremta i de litografia. Es tracta d’una tesi basada fonamentalment en fonts de caràcter primari que estudia l’evolució del sector des de dos vessants. D’una banda, a nivell general com a sector, analitzant el seu desenvolupament i configuració dins del panorama industrial de la ciutat de Barcelona. I de l’altra, a nivell individual, a partir de l’estudi individualitzat de les característiques principals de cada una de les cases impressores de Barcelona que hem pogut identificar i documentar. L’estudi general del sector queda recollit en el bloc II, en el qual es determina i analitza la seva composició, la seva activitat i la seva presència dins del teixit industrial de la ciutat amb l’objectiu de quantificar el creixement experimentat durant la cronologia estudiada. D’una banda, s’estudia el grau de mecanització experimentat pel sector a partir de l’anàlisi i la descripció dels tallers d’arts gràfiques de Barcelona pel que fa a la maquinària existent i a les instal·lacions de les què disposaven les principals cases de la ciutat. Per altra banda, s’estudia als professionals de l’ofici per tal de determinar les seves tasques, la seva posició dins dels tallers i, també, les seves condicions laborals, tant salarials com higièniques i sanitàries. Cal remarcar que dins aquesta anàlisi dels professionals s’hi inclou una aproximació a l’estudi de gènere a partir de l’estudi de la presència de la dona dins del sector de les arts gràfiques, tant en la posició de propietària com en la de treballadora. En darrer terme, s’analitzen les diferents vies per les quals difonien la seva activitat amb l’objectiu de posar de manifest com es mostraven davant de la societat del moment, tant a nivell individual, a partir de de la seva pròpia publicitat impresa –els anuncis a la premsa i els impresos publicitaris–; com a nivell de sector, amb la publicació de revistes especialitzades distribuïdes dins dels cercles professionals i amb la participació a les exposicions tant nacionals com internacionals. Finalment, el bloc III, es centra en l’estudi dels establiments d’arts gràfiques de Barcelona de manera individual a partir de l’elaboració d’un directori descriptiu que recull més de 840 establiments d’impremta i de litografia documentats a Barcelona i actius durant la segona meitat del segle XIX. Cada un està descrit en forma de fitxa que no només recull informació de caràcter identificador com el nom i l’adreça, sinó que inclou altres dades rellevants com el període d’activitat documentat, la maquinària existent al taller, els establiments relacionats, la línia successòria, les guies en les quals apareix documentat, les exposicions en les quals va participar, els serveis que oferia, un apartat d’observacions i, en els casos en que ha esta possible, la reproducció d’un dels seus impresos publicitaris o anuncis.
This doctoral thesis analyses the evolution of the graphic arts industry in Barcelona during the second half of the 19th century, when it evolved from handwork to a mechanical industry, focusing on its protagonists: printing and lithography houses. The thesis is mainly based on primary sources, and studies the evolution of the industry from two perspectives. At the industry level, it offers an overview of the sector’s development and configuration as part of Barcelona’s industrial landscape. At an individual level, this work studies the main characteristics of each printing and lithography workshop in Barcelona that have been identified and documented. The general study of the industry is detailed in Chapter 2. This chapter determines its composition, activity, and presence within Barcelona’s industrial network in order to quantify the growth experienced during the period studied. First, the degree of mechanization of the industry is assessed by analysing the available machinery in the workshops. Second, the professionals in the field are studied to determine their tasks, their position within the workshop, and their working conditions, including a gender-based approach. Last, advertising, professional journals, and exhibitions are investigated with the aim to highlight the dissemination activities at both individual and industry levels. Lastly, Part III focuses on studying individual workshops by creating a descriptive directory of over 840 printing houses and lithography workshops which can be documented as active in Barcelona during the second half of the 19th century. Every workshop is described in file format, including not only identification data such as name and address, but also information regarding activity period, machinery and equipment owned, relationship with other workshops, succession line, references in guides, exhibitions where they participated, available services, etc.

Orientador: Carlos Alberto Sampaio Barbosa
Banca: José Luis Bendicho Beired
Banca: Célia Reis Camargo
Banca: Maria Ligia Coelho Prado
Banca: Stella Maris Scatena Franco Vilardaga
Resumo: Esta tese procura refletir sobre a coleção Las Mujeres Españolas, Portuguesas y Americanas, publicação composta por três volumes de textos abordando espaços territoriais na Espanha, América e Portugal e por litografias - comercializadas em separado -, produzida no decorrer da década de 1870 na Espanha, e que fez uso da simbologia feminina para representar tais espaços. Essa obra constitui-se, ao mesmo tempo, em fonte e objeto desta pesquisa. Neste estudo, parte-se da hipótese de que essa coleção possui um sentido político e configura-se em produção material que constrói uma representação simbólica das características nacionais espanholas, elaborando um discurso sobre si, perceptível no conjunto de sua concepção, produção e composição. Foi produzida na segunda metade dos oitocentos, sob a raiz do movimento romântico e moldada pela estética costumbrista - gênero que se destacou por descrever tipos sociais, hábitos, costumes e tradições. Sobre a temática feminina, partiu-se do pressuposto de que imagens idealizadas de mulheres foram utilizadas para tocar os imaginários sociais pelo que representavam - amor, submissão, honra, fecundidade, educação, abnegação - e também como símbolos dos novos tipos sociais que surgiam em cena nos espaços nacionais que se configuravam perante as transformações européias. O hispanismo, discurso ideológico pautado nas experiências comuns e espírito espanhol, permeou toda a coleção, e este trabalho sustenta a hipótese de que não só referendou, mas construiu e disseminou esse ideário. Por fim, defendeu-se que tanto a linguagem textual como a iconográfica localizaram e salientaram elementos formadores das sociedades espanholas, revelando origens, tradição, peculiaridades e singularidades desses povos - sob o signo feminino - que remetiam à problemática do caráter nacional espanhol.
Abstract: This proposition tries to disclose on the collection Las Mujeres Españolas, Portuguesas y Americanas, a publication composed by three tomes of texts which discuss the territorial spaces in Spain, America and Portugal and by lithographs - separately sold -, produced in Spain during the 1870 decade, using the feminine symbology to represent those spaces. This work consists of, at the same time, origin and object of this research. This treatise starts with the hypothesis that this collection has a political meaning and happens to have a material production which builds a symbolical representation of the Spanish national characteristics, elaborating a "self-speech" about itself, perceptible on the entirety of its conception, production and composition. It was introduced on the second half of the XVIII century, under the roots of the Romanticism and molded by the costumbrista esthetics - gender that distinguished itself by describing the social models, habits, uses and traditions. From the feminine themes, the treatise starts from the pretext that the use of idealized images of women were used to reach the social imaginary of what they represented - love, submission, honor, fecundity, education, self-denial - and also as symbols of the new social types that emerged in the national spaces that appeared in the face of the European transformations. The hispanism, ideological speech based on the common experiences and on the Spanish spirits, pierced all the collection, and this treatise supports the hypothesis that it not only countersigned, but built and spread this ideas. And, last but not least, defended that both textual language and iconography placed and emphasized the elements which built the Spanish societies, revealing origins, tradition, peculiarities and singularities of this people - under the feminine sign- that alluded to the a set of problems of the Spanish national character.
Doutor

The vibrant school of printmaking which emerged and flourished in New Zealand between 1900 and 1950 forms the subject of this thesis. It examines the attitudes of the printmakers, many of whom regarded the print as the most democratic of art forms and one that should reflect the realities of everyday life. Their subject matter, contemporary city scenes, people at work and leisure, local landscapes, Maori and indigenous flora and fauna, is analysed and revealed as anticipating by over a decade that of regionalist painters. They are also identified as the first New Zealand artists to draw attention to social and environmental issues. Trained under the British South Kensington art education system, New Zealand printmakers placed great importance on craftsmanship. Although some worked in a realist style others experimented with abstraction and surrealism, placing them among the forefront of New Zealand artists receptive to modern art. Expatriate New Zealand printmakers played significant roles in three major printmaking movements abroad, the Artists' International Alliance, Atelier 17 and the Claude Flight Linocut Movement. The thesis redresses the failure of existing histories of New Zealand art to recognise the existence of a major twentieth-century art movement. It identifies the main factors contributing to the low status of printmaking in New Zealand. Commercial artists rather than those with a fine arts background led the Quoin Club, which initiated a New Zealand school of printmaking in 1916; Gordon Tovey's overthrow of the South Kensington system in 1945 devalued the craftsmanship so important to printmakers; and the rise of modernism, which gave priority to formal values and abstraction, further exacerbated institutional indifference to the print. The adoption of Maori imagery by printmakers resulted in recent art historians retrospectively accusing them of cultural appropriation. Even the few printmakers who attained some recognition were criticised for their involvement in textile and bookplate design and book-illustration. Key artists discussed in the thesis include James Boswell, Stephen Champ, Frederick Coventry, Rona Dyer, Arnold Goodwin, Thomas Gulliver, Trevor Lloyd, Stewart Maclennan, Gilbert Meadows, John L. Moore, E. Mervyn Taylor, Arthur Thompson, Herbert Tornquist, Frank Weitzel, Hilda Wiseman, George Woods, John Buckland Wright and Adele Younghusband. Details of the approximately 3,000 prints created during this period are recorded in a database, and summarised in the Printmakers' Survey included in Volume Two. In addition reproductions of 156 prints are illustrated and documented; while a further 43 prints are reproduced within the text of Volume One.

The aim of my thesis is to study the release and the project of Litografiskt Allehanda, an art magazine covering contemporary Swedish art and artists, published from 1859 to 1865. My purpose is to look at the choice of the published material for Litografiskt Allehanda, the influence the contributing artists, how the work with advertisement and subscriptions was made and if it fulfilled its own purpose. Through a social and communicative perspective I am studying the relations between the different actors like the publicists, the artists, the subscribers and also the interaction between the lithographs and the texts.  Litografiskt Allehanda was the first successful lithographic work produced in Sweden, and the release lasted for six years. The printer and lithographer Axel Jacob Salmson, who was the founder of the magazine, led the printing work for two years before Sigfrid Flodin, a bookseller, took over and continued the work for another four years. The idea with Litografiskt Allehanda was to reach out to people all over Sweden and give everyone an opportunity to enjoy art, something that usually was exclusively for the upper class in the big cities. The analysis shows that there were people in smaller cities that subscribed to the magazine and also that the amount increased every year. Every volume contained 48 lithographic posters with a diversity of genres, from portraits and landscapes to some with more ethnographic character and ancient Nordic motives. The content became more Swedish with every year and letters show that the participating artists had quite a big influence over the published material. Every poster was accompanied by a text, which didn’t necessary had anything to do with the image, but was meant to create some entertainment for the reader. Some of these essays were written by special authors, while some were written by the artists themselves. Even if Litografiskt Allehanda is mentioned in almost every reference as being of great importance for the development of lithography and its proliferation in Sweden, there is nothing written that is just about the magazine.

Le roman de César Aira, l'un des plus grands écrivains argentins actuels, Un episodio en la vida del pintor viajero (Un épisode dans la vie du peintre voyageur), publié en 2000 en Argentine et traduit en français en 2001, constitue le fil conducteur de notre recherche. Dans cette fiction inspirée d'un fait réel, Aira raconte le premier voyage en Argentine de Johann Moritz Rugendas, peintre romantique allemand de la première partie du XIXe siècle, qui sillonna l'Amérique latine durant vingt ans et rapporta de ses voyages des milliers de dessins et de peintures. Inspiré par les théories du savant Alexandre de Humboldt, et en particulier par la pensée de la " physionomie de la nature ", Rugendas fit également partie de ces artistes naturalistes dont l'art servit la science. En 1838, accompagné du peintre Robert Krause, il traversa les Andes puis la pampa argentine, mais il fut victime d'une grave chute de cheval avant d'arriver à San Luis. Durant le trajet de retour vers le Chili, il aurait approché les Indiens de la région du sud de Mendoza. C'est cet épisode de la vie de Rugendas que Aira relate, à sa façon. La première partie de cette thèse consiste en l'analyse littéraire approfondie du roman, à travers ses différentes thématiques. Parmi celles-ci, figurent l'art en voyage, les liens entre écriture et peinture, art et science, la perception de la beauté et de la laideur. Ce périple fait d'épreuves et de découvertes se révèle être finalement un véritable voyage initiatique pour l'artiste. Dans la deuxième partie, nous adoptons un point de vue historique pour confronter le roman aux faits vécus, tels qu'ils sont racontés dans les biographies de Rugendas ou dans les témoignages de ses contemporains, et réfléchissons à la dialectique entre fiction et réalité. Tout cela nous amène à réfléchir, dans une troisième partie, à l'activité de peintre voyageur. Nous retraçons l'itinéraire des deux artistes en mettant en parallèle les peintures de Rugendas et le récit de Krause, puis nous nous intéressons à chacune des caractéristiques de la pratique de l'art en voyage à travers les expériences de ces deux peintres mais aussi à travers celles d'autres artistes ayant voyagé en Amérique latine au XIXe siècle, tels Léon Pallière, Auguste Borget ou Raymond Monvoisin par exemple, et les peintres de l'école artistique humboldtienne. Cette thèse, qui allie littérature, histoire de l'art et esthétique, est à vocation pluridisciplinaire.

Relatório de estágio de mestrado em Ensino de História no 3º Ciclo do Ensino Básico e do Ensino Secundário
A litografia, como fonte primária, do início do séc. XIX, apresenta-se como um conteúdo profícuo no que concerne ao desenvolvimento de conhecimentos sobre este período histórico (1807-1824). Desta forma, para apurar a evolução da construção do conhecimento histórico, a litografia afirma-se como a fonte coeva que mais proporciona, aos alunos, experiências sensoriais e emocionais, que permitam uma eficaz compreensão histórica do período de 1807 a 1824. Esta investigação pretende apurar a formação do conhecimento histórico dos alunos através da construção desse conhecimento a partir das litografias. As múltiplas visões, compreensões e explicações, dos diversos alunos, sobre as litografias, e o confronto das mesmas formulações historiográficas, constitui-se como elemento basilar, de teor educativo, no desenvolvimento deste projeto de investigação. A investigação fundamentou-se no estudo das respostas de uma turma de 21 alunos do 11º ano de escolaridade, em Braga. O projeto desenvolveu-se através do estudo de inúmeras litografias temáticas e a posterior resolução de uma Ficha de Trabalho final para cada um dos seis parâmetros litográficos explorados. Para o desenvolvimento da investigação as litografias foram divididas em seis grupos temáticos: A Litografia e a Propaganda; Os Artistas Gravadores; A Litografia ao serviço da História e da Administração; Litografias Humorísticas e Ideológicas; A Litografia Alegórica; A Litografia Revolucionária. No processo de análise das fichas correspondentes às temáticas foram observadas oito categorias/tipos de respostas elaboradas pelos discentes: Sem resposta; Errada; Vaga/incompleta; Função Informativa Geral; Juízo de Valor; Intenção de Propaganda; Técnicas/processos; e Domínio dos Conhecimentos; as quais sustentam o desenvolvimento da investigação Os resultados obtidos, a partir do estudo das diversas fichas de trabalho, constitui-se como o foco deste projeto de investigação histórico-educativo. Desta forma, a análise das respostas dos discentes, a compreensão das suas dificuldades, o desenvolvimento do nível das respostas, a alternância de categorias entre as respostas dos alunos constituiu-se como elemento fundamental para a elaboração das conclusões da investigação à pergunta de investigação: Qual é a importância da litografia contrarrevolucionária e a revolucionária (1800-1834) na construção do conhecimento histórico dos alunos?
Lithography, as a primary source, from the beginning of the XIX century, presents itself as a useful content in what concerns the development of knowledge about this historical period (1807-1824). In order to ascertain the evolution of the construction of historical knowledge, lithography asserts itself as the contemporary source that provides students with more sensorial and emotional experiences which allows an effective historical understanding of the following period –between 1807 to 1824. This research intends to verify the formation of historical knowledge of students through the construction of this knowledge from lithographs. The multiple visions, understandings and explanations of the various pupils, about lithographs, and the confrontation of the same historiographic formulations, constitute a base element of educational content in the development of this research project. The research was based on the study of the responses of a group of 21 students from the 11th grade, in Braga. The project was developed through the study of numerous thematic lithographs and the subsequent resolution of a final worksheet for each of the six lithographic parameters explored. For the development of the investigation the lithographs were divided into six thematic groups: Lithography and Propaganda; The Recording Artists; Lithography at the service of History and Administration; Humorous and Ideological Lithographs; The Allegorical Lithography; The Revolutionary Lithograph. In the analyzing process of the worksheets corresponding to the themes, eight categories / types of answer were studied: No answer; Wrong; Vague / incomplete; General Information Function; Value judgment; Intention of Propaganda; Techniques / processes; Knowledge; which support the development of research. The results obtained from the study of the various worksheets constitute the focus of this historical-educational research project. Thus, the analysis of the students ‘answers, the understanding of their difficulties, the development of the level of the answers, the alternation of categories among the students’ responses constituted a fundamental element for the elaboration of the conclusions of the research to the research question: What is the importance of counter-revolutionary and revolutionary lithography (1800-1834) in the construction of historical knowledge of students?

Este trabalho de investigação tem como desiderato promover o conhecimento da pessoa de Sebastião Sampaio de Sousa Sanhudo e da sua heterogénea obra. Partimos do geral para o particular, por forma a enquadrar melhor a sua vida e a sua vasta produção. Elaboramos um primeiro capítulo onde tratamos de fazer a história da imprensa, com especial incidência sobre os séculos XVIII, XIX e XX. Aí damos conta dos múltiplos progressos, ou recuos, gerados ao longo do tempo, desta arte, pois que ela é o suporte material, sobre o qual se plasmam as edições no geral e no particular – aqui no atinente às publicações humorísticas ilustradas, bem como aos aperiódicos de carácter solidário e humanístico nas quais o autor interveio. O segundo capítulo verte um vasto estudo sobre toda a história do humor no geral e da caricatura no particular. Procuramos enquadrar as artes do humor não só no que ao periodismo de humor ilustrado concerne, mas fazemo-lo inserindo-as num plano mais alargado, cotejando com todas as áreas onde o humor se explanou, ao longo do tempo, para que se compreenda, cabalmente, a sua posição e relevância respectiva. O terceiro capítulo diligencia um olhar historiado sobre a cidade Invicta – através das transformações sociais, comerciais, económicas, culturais, higieno-sanitárias, histórico-sociológicas, nas novidades geradas pelo progresso material, urbanísticas, na vivência hodierna das gentes e instituições portuenses –, naquilo, do muito, que a cidade tinha, e talvez ainda conserve, como único ou muito genuíno. Incluímos aquele que ponderamos ser o mais actual levantamento, sistematização e estudo sobre os cafés históricos do Porto, em todas as suas vertentes, dada a sua vasta relevância social. O capítulo derradeiro elabora um exame sobre a vida e a obra de Sebastião Sanhudo. Percorremos a sua vida, a sua formação académica e a sua actividade como industrial litógrafo, atestando da relevância e singularidade, quer da sua indústria, quer daquele que foi um dos mais lídimos retratistas e litógrafos. Escrutinamos toda a vasta, e heteróclita, produção artística daquele que possuiu um dos mais longevos periódicos humorísticos ilustrados, analisando cada uma das suas produções, revelando da sua capital importância, e destaque, no panorama do humor ilustrado e da caricatura.
This research has the desideratum to promote an insight into Sebastião Sampaio de Sousa Sanhudo and its heterogeneous work as a caricaturist, lithographer and publisher. To achieve that we started from the general to the particular, in order to better portrait his life and his vast production. In the first chapter we synthesize a history of the press, focusing on the 18th, 19th and 20th centuries. We registered this art’s multiple advances, or setbacks, generated over time, for this is the medium used to shape general or specific issues – in particular with regard to humorous illustrated publications and aperiodic titles of solidarity and humanistic character in which the author intervened. The second chapter sheds a comprehensive study on the entire history of humor in general and caricature in particular. We seek to portrait the art of humor in illustrated humor journalism by inserting it into a broader plan, comparing it with all the areas where humor was spread, over time, in order to fully understand its position and relevance. The third chapter presents an historical insight of the city of Porto – through its social, commercial, economic, cultural, health and hygiene, historical and sociological changes, the urban novelties and those generated by material progress, and the coeval experience of its people and the city’s institutions –, revealing a great part of what constituted the city, perhaps still preserved till nowadays as unique or very genuine. In this chapter we also include what could be considered as the most updated research, systematization and study of the historic cafés of Porto, in all its aspects, given their vast social relevance. The last chapter elaborates a survey on the life and works of Sebastião Sanhudo. We follow his life, education and activity as an industrial lithographer, attesting the relevance and uniqueness of his craftsmanship. He was indeed one of the most authentic portraitists and lithographers of his time. We also scrutinize all the vast, and ill-assorted, artistic production of the man that edited one of the very few longest-lived humorous illustrated periodicals, analyzing each of its productions, revealing its capital importance and prominence in the panorama of illustrated humor and caricature in Portugal.