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1
Syndikus, Candida. "Leon Battista Alberti : das Bauornament /." Münster : Rhema, 1996. http://catalogue.bnf.fr/ark:/12148/cb370972620.
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Morin, Pauline Marie. "Leon Battista Alberti : architect as Orator." Diss., Georgia Institute of Technology, 2002. http://hdl.handle.net/1853/22332.
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Stolf, Serge. "Ironie et discours chez Leon Battista Alberti." Grenoble 3, 1994. http://www.theses.fr/1994GRE39033.
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Cette etude prend en consideration le discours ironique dans les oeuvres en latin ( pour une large part ) et en "volgare "de l. B. Alberti. L'ironie y est tout d'abord envisagee par la voie de l'intertextualite, puis dans sa relation avec les discours universaux (discours metaphysiqueet discours de la raison) dont elle met en question les certitudes omniscientes. Enfin, consideree dans sa dimension dialogique, elle souligne la necessite et les dfifficulttes d'une confrontation des savoirs, mais peut aussi assumer le statut incertain, entre dissimulation et synisme, d'une parole libre dejouant sanctions sociales et politques<br>This essay considers the works of l. B. Alberti, written in latin and in "volgare". First, it looks at irony following the way of the "intertextualite". Moreover, the irony calls in question the omniscient certitudes of universal speechs (metaphysical speech and speech of the reason). Lastly, the irony, considered as dialogue, underlines the necessary and difficult confrontation of learnings, but it can also assume the dubious status, between dissimulation and cynicism, of a free speech that eludes social and political sanctions
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Bianchi, Nella. "Le monde relationnel dans l'oeuvre de Leon Battista Alberti." Paris 3, 1994. http://www.theses.fr/1994PA030152.
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Le but de cette these est d'eviter les differentes relations qui se nouent au sein de l'oeuvre de leon battista alberti; elle est donc divisee en deux parties dont chacune comporte trois chapitres. Les trois premiers chapitres analysent le rapport que l'auteur etablit avec son public et son oeuvre: ses motivations, ses objectifs ouvertement declares ou dissimules dans le jeu et le fonctionnement du dialogue. Les chapitres iv, v, vi etudient comment alberti presente le reseau de relations sur lesquelles se fonde la vie sociale en proposant des solutions quii varient en fonction des points de vue choisis par l'autuer et l'incarnes par ses personnages<br>Ths thesis aims at studying the different relationships in leon battista alberti's work. . It is therefore divided into 2 parts with 3 chapiters each. The first 3 chapters analyse the link that the author establishes with the reader and his work: his desires and aims, expressed openly or indirectly in the functioning of the dialogue. Chapters iv, v, vi examine haw alberti presents the network of relationships on wich social life is bases; by putting forth solutions wich vary depending on the points of view chosen by the author and presented by his characters
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Wulfram, Hartmut. "Literarische Vitruvrezeption in Leon Battista Albertis "De re aedificatoria" /." München : K. G. Saur, 2001. http://catalogue.bnf.fr/ark:/12148/cb38963958s.
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Addis, Anna <1978>. "Artificio e maschera nel pensiero di Leon Battista Alberti." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3218/1/Addis_Anna_tesi.pdf.
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Addis, Anna <1978>. "Artificio e maschera nel pensiero di Leon Battista Alberti." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3218/.
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Benedetti, Samantha <1992>. "Edizione critica e commentata dell'Ecatonfilea di Leon Battista Alberti." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17909.
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La presente tesi propone l'edizione critica dell’Ecatonfilea, uno degli opuscoli amatori di Leon Battista Alberti, ascrivibile alla sua produzione volgare e risalente alla prima metà del XV secolo. Lo studio si basa sullo spoglio degli undici manoscritti che tramandano l’opera; in base alla collazione dei testimoni è stato così possibile risalire a uno stemma codicum rappresentativo dei rapporti che intercorrono tra i codici della tradizione.
Il testo redatto ha dunque permesso di presentare un commento linguistico ed esegetico, che l’intento di analizzare lo scritto in modo critico e puntuale.
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Biermann, Veronica. "Ornamentum : Studien zum Traktat "De re aedificatoria" des Leon Battista Alberti /." Hildesheim ; Zürich ; New York : G. Olms, 1997. http://catalogue.bnf.fr/ark:/12148/cb37000762t.
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Bianchi, Bensimon Nella. "Unicité du regard et pluralité des voix : essai de lecture de Leon Battista Alberti /." Paris : Presses de la Sorbonne nouvelle, 1998. http://catalogue.bnf.fr/ark:/12148/cb36985694f.
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Loewen, Andrea Buchidid. "Lux pulchritudinis: sobre beleza e ornamento em Leon Battista Alberti." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-19052010-114309/.
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Inspirado em ares toscanos, inflamado por fontes antigas e cingido por ruínas romanas, Leon Battista Alberti compõe, em letras latinas, uma doutrina moderna do belo semeada nos tratados das Artes. Nela, a beleza esplende em pulchritudo e ornamentum: aquela, harmonia proporcional das partes de um corpo que não admite acréscimos ou subtrações ou alterações, é qualidade inerente; este, aderente à figura, é luz auxiliar e pulcro complemento. Evocando a Retórica de Cícero e Quintiliano, e avocando vêneras metáforas, orgânicas, a preceptiva albertiana, ao fundir noções de decorum e aptum e acomodar esteses e motivações éticas, supera a separação entre estrutura e ornamento, atenuando a idéia de uma beleza emersa tão-só de relação proporcional, a encerrar modernas oposições entre ornatus e utilitas.<br>Inspired in tuscan airs, inflamed by ancient sources and girded by Roman ruins, Leon Battista Alberti composes, in latin letters, a modern doctrine of beauty sowed upon the treatises on the Arts. In that, beauty glares in pulchritudo and ornamentum: the former, proportional harmony of the parts within a body that does not accepts additions or subtractions or alterations, is inherent quality; the latter, adherent to the figure, is auxiliary light and fair complement. Evoking the rhetoric of Cicero and Quintilian, and invoking comely, organic, metaphors, the albertian precepts, by fusing the notions of decorum and aptum and accommodating aesthethical principles and ethical motivations, surpasses the separation between structure and ornament, attenuating the idea of a beauty only emerged from proportional relation, ending modern oppositions between ornatus and utilitas.
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Tavernor, Robert William. "Concinnitas in the architectural theory and practice of Leon Battista Alberti." Thesis, University of Cambridge, 1985. https://www.repository.cam.ac.uk/handle/1810/239042.
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In his treatise on architecture, de re aedificatoria, Leon Battista Alberti (1404 - 72) described Beauty in architecture as concinnitas: a harmony or congruity of the various parts of a building assembled according to principles :summarised by three categories of numerus, finitio and collocatio . This term has been interpreted variously and most famously in recent times by Rudolph Wittkower. Starting with his and other scholars' interpretations, this dissertation proposes a new definition for concinnitas based on studies of Alberti's architectural theory and practice and the work of his contemporaries. Chapters 1, 3 and 4 of the dissertation focus on the application of numerus and finitio in Alberti's architectural practice and observations made here are supported by separate historical studies of the buildings (be found in the appendices) and survey drawings (bound together at the end of the dissertation). Chapter two is a study of the symbolic references, traditions and themes which appear to underlie the design of centralised churches and points raised here are expanded in later chapters. The third category, collocatio, is examined in the final chapters when the continuity of tradition in Alberti's approach to architecture is outlined within the framework of the city and the urban ensemble of church, palace, piazza and loggia.
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Pearson, Caspar. "Visions of the city in Leon Battista Alberti's 'De re aedificatoria'." Thesis, University of Essex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248667.
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Furlan, Francesco. "Les Livres de la famille (De familia) de Leon Battista Alberti." Paris, EHESS, 1994. http://www.theses.fr/1994EHESA002.
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Cette these etudie le contexte, la genese te le processus d'ecriture du de familia de leon battista alberti (1404-1472). Elle comprend deux volumes respectivement intitules "contexte, genese et ecriture d'un dialogue" et "tradition et texte". Le premier volume aborde dans l'introduction le probleme des differentes formes d'ecriture d'alberti (traite, dialogue, ludus) et de leur signification epistemologique; il etudie ensuite les modeles antiques, les formes, les methodes et le contexte humaniste (chapitre i et ii), puis la chronologie, la typologie, la conception et la composition des dialogues italiens d'alberti (chapitre iii), ainsi que la progression du dialogie, les fonctions des personnages et la production de la verite dans le de familia (chapitre iv). Clot le volume un appendice consacre a "la famille, la femme, l'amour" qui etudie les perceptions et les idees d'alberti en la matiere dans l'ensemble de son oeuvre et a la lumiere des conceptions ecclesiastiques ainsi que des pratiques concretes des milieux marchands de l'epoque. Le second volume comprend une edition critique des quatre livres du de familia precedee d'une substantielle introduction dans laquelle la genese de l'oeuvre et les modalites de sa circulation sont retracees d'une maniere nouvelle et les rapports entre les manuscrits connus sont pour la premiere fois reconstruits de facon rationnelle: trois stemma distincts, correspondants aux trois sections (prologue et livres i-ii, livre iii precede par le proemio ou lettre de dedicace a francesco d'altobianco alberti, livre iv) dans lesquelles l'ouvrage a effectivement circule, sont ainsi proposes<br>This thesis studies the context, the genesis and the process of the writing of de familia by leon battista alberti (1404-1472). It is composed of two volumes respectively entitled "context, genesis and writing of a dialogue" and "tradition and text". The first volume tackles in its introduction the problem of the different forms of alberti's writing (treatise, dialogue, ludus) and of their epistemological significance; it studies next the ancient models, the forms, the methods and the humanist context (chapter i and ii), then chronology, typology, conception and composition of alberti's italian dialogues (chapter iii), as well as the progression of dialogue, the fonction of characters and the production of the truth in de familia (chapter iv). The volume ends with an appendix dedicated to "family, woman and love" which studies, in the whole of his work, the perceptions and ideas of alberti on these subjects in the light of ecclesiastical conceptions and practices of the merchant milieu of the time. The second volume contains a critical edition of the four books of de familia. It is precedeed by a substantial introduction which retraces in a new manner the genesis of the work and the modalities of its circulation and which reconstructs for the first time the connection between the known manuscripts in a rational way. Three distinct stemmata corresponding to the three sections, under which the book was effectively circulated, are proposed
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Jarzombek, Mark Michael. "Leon Baptista Alberti : the philosophy of cultural criticism." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/14984.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Bibliography: leaves 355-362.<br>This dissertation investigates Leon Baptista Alberti's cultural critique, taking into consideration a broad spectrum of Alberti's writings, including many which have remained relatively unknown and ignored. Alberti developed his cultural theories by means of a literary ontology which is based on the definition of the author, his role in society, and his function as catalyst for regeneration. His theory of art and of history, and even his views on the task of Humanism it self, are all subsumed in his comprehensive attempt to demonstrate that myth-making capabilities are central to society's self-definition. Unless society keeps alive the myths of destruction and regeneration, its historical viability, so Alberti argues, is endangered. Alberti's aesthetic theory, which has previously been sought exclusively in his treatises, De pictura and De re aedificatoria, emerges in this inquiry as inextricably interlocked with his cultural critique. For the first time, the treatises will be viewed from within the context of Alberti's own thought.<br>by Mark Michael Jarzombek.<br>Ph.D.
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Zanchetta, Ricardo. "Da Pintura de Leon Battista Alberti: comentário e tradução do primeiro livro." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-16102014-101330/.
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Apresenta-se neste trabalho a tradução anotada de ambas as redações, latina e toscana, do primeiro livro do Da Pintura de Leon Battista Alberti. Nesse livro, Alberti apresenta os rudimentos geométricos e óticos da pintura, a sua definição de pintura e a primeira sistematização escrita da construção em perspectiva. O Da Pintura também é foco de um comentário em três capítulos, em que se discute: 1°) as questões de estabelecimento do texto, bilinguismo e cronologia ; 2°) o gênero do discurso e suas fontes ; 3°) os aspectos gerais do livro I.<br>This work presents a translation of both Latin and Tuscan versions of the first book from On Painting, by Leon Battista Alberti. In this book, Alberti presents the geometric and optic rudiments of painting, his definition of painting, and the first written systematization of perspective construction. On Painting is also the focus of a commentary divided in three chapters, in which the following shall be discussed: 1°) the questions pertaining the establishment of the text, its bilingualism and chronology; 2°) the discourse\'s genus and its sources; 3°) the general aspects of book one.
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Osera, Karen Mylena de Gouvea [UNIFESP]. "O estatuto do artífice no Tratado da pintura de Leon Battista Alberti." Universidade Federal de São Paulo (UNIFESP), 2014. http://repositorio.unifesp.br/handle/11600/39254.
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Previous issue date: 2014-09-01<br>O tema desta dissertação de mestrado concentra-se no estudo acerca do
estatuto do artífice no tratado Da pintura de Leon Battista Alberti. Para atingir
esse objetivo, mostrar-se-á como a Renascença italiana tinha por base a
filosofia aristotélica, cujo entendimento pode ser buscado nas classificações
dos saberes no Renascimento. Isto posto, interessa analisar o tratado de
Alberti para pensar que as artes na época faziam parte do contexto da
filosofia num sentido amplo e, assim, podem ser estudadas pela História da
Filosofia a partir de um “olhar de época”, diverso do olhar da História da Arte,
a fim de pensar a posição do artífice na Renascença italiana.<br>This dissertation focuses on studying the artificer status as described in the
treatise On Painting, by Leon Battista Alberti. To do so, it will show how Italian
Renaissance was based on Aristotelian philosophy, whose understanding can
be sought in the knowledge ratings during Renaissance. That said, it is
interesting to analyze Alberti treatise to perceive the arts at the time as part of
a philosophy context in a broad sense; and capable of being studied by
Philosophy History from an “period eye”, different from Art History looking, in
order to think about the artificer position during Italian Renaissance.
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Troncelliti, Latifah. "Cennino Cennini and Leon Battista Alberti : two parallel realities in the Italian Quattrocento /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018397.
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Thesis (Ph. D.)--University of Oregon, 2001.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 314-327). Also available for download via the World Wide Web; free to University of Oregon users.
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Rivera, Clerc Anahí. "De pictura de Leon Battista Alberti — una obra inaugural para la teoría del arte." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/101520.
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Leon Battista Alberti publica De Pictura (1435) en Florencia. Para ese entonces ya se
conocían algunos escritos sobre el trabajo de los artistas, entre ellos y el más influyente
para el proto humanismo del Treccento será Il Libro dell’arte (139?) de Cennino Cennini,
que aún conservaba la doctrina medieval del taller. No obstante, en la generación posterior
de Cennini comienza el surgimiento de nuevas ideas, es el momento de la relectura de los
clásicos, nuevas explicaciones y nuevas expresiones, la fundación de un nuevo período
de civilización, intervenciones propias del primer humanismo del Quatroccento. De Pictura
en su primera edición se escribe en latín, al año siguiente el mismo Alberti traduce su
versión latina al italiano, dato fundamental para adentrarse en su complejidad. Alberti no
es un estudioso cualquiera, él fue un hombre excepcionalmente capaz que no se contentó
con estudiar a los autores clásicos, sino que también sintió la necesidad de incorporar su
propio pensamiento a las ideas de los clásicos en formas de escritos, ensayos y cartas, de
esta manera, siguió el estudio de las lenguas clásicas en donde éstas no operaban como
instrumento, sino más bien, como fundamento del pensamiento humanista. En este nuevo
escenario se publicará De Pictura y con él también el problema de índole general por tratar
en la tesina: La influencia del pensamiento humanista reinante en el ambiente intelectual
florentino y su determinación en el nuevo punto de vista con que el autor comprendió a
la Pintura y sus problemas
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Capistrano, Gradisca de Oliveira Werneck de. "A vila nos textos de Alberti e Palladio." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-08012015-153002/.
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Alberti e Palladio foram dois dos principais nomes na constituição dos modelos de vilas que caracterizaram o Renascimento italiano. Enquanto Alberti, em seu De re aedificatoria, estabeleceu as bases e a fundamentação teórica sobre o tema, no início do período, Palladio com I Quattro Libri dell\'Architettura, sistematizou um repertório formal que o tornou responsável pela difusão do modelo ao redor do mundo. Tendo-se em vista a importância da contribuição de ambos os autores e considerando que Palladio leu o tratado de Alberti, foi feito um estudo comparativo desses dois modelos de vila, visando detectar suas aproximações e divergências. Partindo-se da exposição do tema no corpo dos tratados e passando pelas definições do termo vila são abordados diversos aspectos da argumentação dos dois autores. Considerando a grande contribuição de Alberti e Palladio no campo da representação gráfica da arquitetura e do processo intelectual de projeto, foi discutida a relação desses dois temas, tanto na composição quanto na apresentação das vilas (especificamente no tratado paladiano). São analisadas ainda, o estabelecimento das hierarquias que são utilizadas na adequação das vilas à classes sociais de seus proprietários, a setorização proposta na organização da vila e da casa de vila e, por fim, a compartimentação desses edifícios. Mesmo considerando que os dois autores leram Vitruvio, de onde poderiam ter surgido diversos pontos que apresentam em comum, deve-se considerar que, para o projeto e a concepção das vilas, o texto de Vitruvio foi de pouca utilidade. Sendo assim, é surpreendente e também reveladora a semelhança que se percebe nas vilas de Alberti e Palladio. Em diversos trechos dos tratados, os discursos são tão próximos que parecem complementares, como também se pode utilizar projetos paladianos para exemplificar indicações teorizadas por Alberti. Esse trabalho não pretende esgotar o argumento, mas verificar a existência de uma relação entre a vila para ambos e, com essa relação mostrando-se tão forte, superaram-se todas as expectativas iniciais.<br>Alberti and Palladio were two of the leading names in the establishment of models for villas, which characterized the Italian Renaissance. At the beginning of the Renaissance period, Alberti in his De Re Aedificatoria established the foundation and the theoretical background of the subject. Afterward Palladio, in his I Quattro Libri Dell\'Architettura, systematized a set of formal rules that made him responsible for the diffusion of a general model of villa around the world. Bearing in mind the importance of the contribution of both authors and considering that Palladio read Alberti´s treatise, we made a comparative study of these two models of villa, in order to detect their similarities and differences. Several aspects of both authors\' arguments are addressed, starting from the development of the subject in the body of the treaties and including the different definitions of the term villa. Given the important contributions of Alberti and Palladio in the field of graphic representation of architecture and intellectual process of project, the relationship between these two topics was discussed, both in the composition and in the presentation of villas (specifically in the Palladian treaty). Furthermore, we analyzed the establishment of hierarchies used in adapting the villas to the social class of their owners; we investigated the sections proposed for the organization of the villa and, finally, we examined the partitions of these buildings. Although the two authors read Vitruvius, who could have provided them with a common theoretical background, it must be stressed that Vitruvius´s writings were of little use in the conception and project of villas. Therefore, it is surprising and revealing the resemblance noticed in the villas of Alberti and Palladio. In different parts of the treaties, discussions are so close that they seem complementary. Besides, Palladian projects can also be used to exemplify indications theorized by Alberti. The present study does not bring to an end the discussion; instead, it intends to check the existence of a relationship between the ideas of in both authors. We demonstrate that this relationship is actually strong, overcoming all the initial speculations of tight connections.
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Santos, Lucas Reis. "Leon Battista Alberti (1404 1472) e a medida do tempo em sua obra matemática lúdica." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/11002.
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Previous issue date: 2014-09-02<br>Currently we have many tools to help us measure various quantities (distances, heights, weights, time, etc.). However, to use them, we do not realize what it means to measure. In other terms, such instruments, mostly, does not allow us to reflect on some questions related to the concepts of what is a measure. We understand that the process of measuring a part of human activity and its approach is of great importance. Although the context of quantities and measures will be widely discussed in the early years and in the final years of primary school II, does not always allow the teacher to reflect on what is measured, since this measure has content only in their mathematical and arithmetical character. Assuming that it is important to explore the measures and quantities in their meaning, we seek to discuss this work on the measurement of time by means of an analysis of the procedures described in the work Ludic Mathematics, produced by Leon Battista Alberti (1404 - 1472) in mid-fifteenth century. Modestly, we seek here to provide math teacher a history of mathematics of the fifteenth century, based on current historiographical trends, pointing to issues that are at stake in making the history of mathematics, presenting a story that is not based on grand narratives<br>Dispomos atualmente de muitos instrumentos para nos auxiliar a mensurar diversas grandezas (distâncias, alturas, pesos, tempo, entre outras). Entretanto, ao utilizá-los, não nos damos conta do que significa medir. Em outros termos, tais instrumentos, em sua maioria, não nos permite refletir sobre algumas questões ligadas às concepções do que é uma medida. Entendemos que o processo de medir faz parte da atividade humana e sua abordagem é de grande importância. Embora o conteúdo de grandezas e medidas seja amplamente abordado nos anos iniciais e nos anos finais do ensino fundamental II, nem sempre permite ao professor refletir sobre o que seja medir, visto que tal conteúdo apresenta a medida apenas em seu caráter matemático e aritmético. Partindo do pressuposto de que é importante explorar as medidas e as grandezas em seu significado, buscamos discorrer neste trabalho sobre a medida do tempo por meio de uma análise dos procedimentos descritos na obra Matemática Lúdica, produzida por Leon Battista Alberti (1404 1472) em meados do século XV. De forma modesta, buscamos aqui oferecer ao professor de matemática uma história da matemática do século XV, pautada em tendências historiográficas atuais, apontando para questões que estão em pauta no fazer da história da Matemática, apresentando uma história que não se baseia em grandes narrativas
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Kanerva, Liisa. "Defining the architect in fifteenth-century Italy : exemplary architect in L. B. Alberti's De Re aedificatoria /." Helsinki : Academia scientiarum fennica, 1998. http://catalogue.bnf.fr/ark:/12148/cb391068384.
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Onecha, Pérez Ana Belén. "Una nueva aproximación al "De re aedificatoria" de Leon Battista Alberti: los conocimientos constructivos y sus fuentes." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/96785.
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El "De re aedificatoria", segundo tratado conocido de arquitectura en la historia y escrito entre 1443 y 1452 por Leon Battista Alberti, es uno de los textos arquitectónicos más estudiados. La época histórica a la que pertenece, el renacimiento; los lazos que lo ligan a épocas pasadas esplendorosas; la teoría expuesta sobre las proporciones,
derivada de los estándares greco-romanos; y el interés por el personaje que lo escribió,
han sido los grandes enfoques a través de las cuales se ha abordado incesantemente
el documento.
Sin embargo, y a pesar de ser considerado un tratado técnico por la mayoría de
autores, nunca se ha estudiado desde el punto de vista de los contenidos sobre
construcción que incorpora, quizá precisamente porque entre esos autores los
arquitectos constituyen minoría respecto a los historiadores y literatos.
Otro aspecto desconocido, pero ligado directamente al anterior, es el origen de los
conocimientos constructivos de Alberti, puesto que aún siendo el autor de proyectos
que se desarrollaban durante la redacción del tratado, como el Palacio Rucellai en
Florencia o el Templo Malatestiano en Rímini, está documentado que los directores de
obra respectivos fueron Bernardo Rossellino y Mateo di Pasti.
Esta memoria de tesis identifica, contrasta y analiza todos los conocimientos
constructivos que aparecen descritos en el De re aedificatoria, muchos de ellos por
primera vez en la historia, así como las fuentes que les son asociadas, con la intención
de demostrar que los conocimientos constructivos no solo son verídicos y muy
abundantes, sino que constituyen un verdadero corpus del saber arquitectónico.
Además, se analizan y sistematizan las fuentes para determinar hasta qué punto son
verídicas o son solo una manera de autorizarse recurriendo a la antigüedad.<br>"De re aedificatoria" second architectural treatise known in history, written between 1443 and 1452 by Leon Battista Alberti, is one of the most studied architectural texts. The historical period to which it belongs, the Renaissance, the
ties that bind it to a splendid past, the proportions theory derived from Greco-
Roman standards, and the interest in the person who wrote it, have been the big
approaches through which the experts have incessantly studied it.
However, and despite being considered as a technical treatise by most authors, It
has never been studied from the point of view of contents incorporating
construction, perhaps precisely because among these authors the architects are
a minority in comparison with historians and writers.
Another unknown topic, but directly linked to above, is the source of Alberti’s
constructive knowledge, because despite being the author of projects that were
developed during the drafting of the treatise, as the Rucellai Palace in Florence
or Malatesta Temple in Rimini, it is documented that the respective project
managers were Bernardo Rossellino and Matthew di Pasti, so that is quite feasible
that Alberti was not involved heavily in his works.
From a thorough study of the treatise, making use of various translations of the
same, even the original Latin, have been extracted all the bits that refer to
constructive aspects, analyzing them by using tabs and summary tables by type
and source of constructive knowledge.
Thus, this PhD dissertation identifies, contrasts and analyzes all constructive
knowledge is described in the De re aedificatoria, many for the first time in
history, and sources associated to them, intending to show that constructive
knowledge is true and not only abundant, but are a real body of architectural
knowledge that structures the entire treatise. It Has also been analyzed and
systematized knowledge concerning such sources to determine to what extent
they are real or just a way of getting authority by using the classical culture.
The findings are based on considerations that incorporate a reflection on the true
structure of the treatise, going through the Alberti enlargement of architectural
purposes with respect to the Vitruvian triad, to finish determining the treatise
corpus of construction knowledge raised by the author under a new approach to
history, true content, but of undetermined origin.
24
Onecha, Pérez Ana Belen. "Una Nueva aproximación al De re aedificatoria de Leon Battista Alberti: los conocimientos constructivos y sus fuentes." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/96785.
Full textAbstract:
El De re aedificatoria, segundo tratado conocido de arquitectura en la historia y escrito
entre 1443 y 1452 por Leon Battista Alberti, es uno de los textos arquitectónicos más
estudiados. La época histórica a la que pertenece, el renacimiento; los lazos que lo
ligan a épocas pasadas esplendorosas; la teoría expuesta sobre las proporciones,
derivada de los estándares greco-romanos; y el interés por el personaje que lo escribió,
han sido los grandes enfoques a través de las cuales se ha abordado incesantemente
el documento.
Sin embargo, y a pesar de ser considerado un tratado técnico por la mayoría de
autores, nunca se ha estudiado desde el punto de vista de los contenidos sobre
construcción que incorpora, quizá precisamente porque entre esos autores los
arquitectos constituyen minoría respecto a los historiadores y literatos.
Otro aspecto desconocido, pero ligado directamente al anterior, es el origen de los
conocimientos constructivos de Alberti, puesto que aún siendo el autor de proyectos
que se desarrollaban durante la redacción del tratado, como el Palacio Rucellai en
Florencia o el Templo Malatestiano en Rímini, está documentado que los directores de
obra respectivos fueron Bernardo Rossellino y Mateo di Pasti.
Esta memoria de tesis identifica, contrasta y analiza todos los conocimientos
constructivos que aparecen descritos en el De re aedificatoria, muchos de ellos por
primera vez en la historia, así como las fuentes que les son asociadas, con la intención
de demostrar que los conocimientos constructivos no solo son verídicos y muy
abundantes, sino que constituyen un verdadero corpus del saber arquitectónico.
Además, se analizan y sistematizan las fuentes para determinar hasta qué punto son
verídicas o son solo una manera de autorizarse recurriendo a la antigüedad.<br>De re aedificatoria second architectural treatise known in history, written
between 1443 and 1452 by Leon Battista Alberti, is one of the most studied
architectural texts. The historical period to which it belongs, the Renaissance, the
ties that bind it to a splendid past, the proportions theory derived from Greco-
Roman standards, and the interest in the person who wrote it, have been the big
approaches through which the experts have incessantly studied it.
However, and despite being considered as a technical treatise by most authors, It
has never been studied from the point of view of contents incorporating
construction, perhaps precisely because among these authors the architects are
a minority in comparison with historians and writers.
Another unknown topic, but directly linked to above, is the source of Alberti’s
constructive knowledge, because despite being the author of projects that were
developed during the drafting of the treatise, as the Rucellai Palace in Florence
or Malatesta Temple in Rimini, it is documented that the respective project
managers were Bernardo Rossellino and Matthew di Pasti, so that is quite feasible
that Alberti was not involved heavily in his works.
From a thorough study of the treatise, making use of various translations of the
same, even the original Latin, have been extracted all the bits that refer to
constructive aspects, analyzing them by using tabs and summary tables by type
and source of constructive knowledge.
Thus, this PhD dissertation identifies, contrasts and analyzes all constructive
knowledge is described in the De re aedificatoria, many for the first time in
history, and sources associated to them, intending to show that constructive
knowledge is true and not only abundant, but are a real body of architectural
knowledge that structures the entire treatise. It Has also been analyzed and
systematized knowledge concerning such sources to determine to what extent
they are real or just a way of getting authority by using the classical culture.
The findings are based on considerations that incorporate a reflection on the true
structure of the treatise, going through the Alberti enlargement of architectural
purposes with respect to the Vitruvian triad, to finish determining the treatise
corpus of construction knowledge raised by the author under a new approach to
history, true content, but of undetermined origin.
25
Guérin, Philippe. "Dialogue et formes dialogiques au Quattrocento : Leon Battista Alberti et la naissance du dialogue en langue vulgaire." Paris 3, 1995. http://www.theses.fr/1996PA030088.
Full textAbstract:
L'entreprise de refondation des "artes sermocinales" en italie au quattrocento rencontre avec le dialogue un terrain d'expression privilegie. Parce que la production du sens est ouvertement solidaire des procedures enonciatives que le texte dialogue met en oeuvre, la releve de cette forme litteraire semble devoir susciter aujourd'hui chez l'interprete un ensemble de questions surgissant sur l'horizon de l'interet contemporain pour le langage, tel qu'il se manifeste en philosophie, linguistique, theorie de la litterature (cf. Les champs et notions de pragmatique, rhetorique, enonciation, etc. ). La mise au clair de cette relation hermeneutique a pour ambition de renouveler pour partie l'intelligibilite de toute une serie de textes caracteristiques de la periode consideree. L'affirmation des vertus heuristiques, mais aussi ethiques, de la confrontation des opinions, la prise en compte des necessites argumentatives, acquierent un relief particulier chez leon battista alberti (1404-1472), "inventeur" du dialogue en langue vulgaire. La nouvelle figure du "sujet parlant" qui s'y dessine est indissociable des choix linguistiques operes par l'auteur des libri della famiglia (1433-34 et 1437), du theogenius (vers 1440) et des profugiorum ab aerumna libri (vers 1442). Grace a l'analyse de ces textes dans leur dimension dialogue propre, nous voyons se constituer, dans et par l'exercice du langage, un modele de relations harmonieuses constituant le contre-type des egarements et des deviances que fustige par ailleurs l'alberti latin sous les especes de l'ironie, de la parodie, du paradoxe. La "legittima costruzione" des dialogues vulgaires albertiens fonde un "jeu dialogique" qui ne cesse d'exhiber les conditions de possibilite d'une "communicabilite" repensee<br>An attempt to refund the "artes sermocinales" in the italian quattrocento finds in the dialogue a most fertile ground to express itself. Since the production of meaning is overtly linked to the enunciative procedures used in the dialogue, the revival of this literary form is apt to raiseamong contemporary critics - a set of questions which proceed from a current and obvious interest for language, as witnessed in philosophy, linguistics and literary theories (ef. The fields and notions of pragmatics, rhetoric, enunciation. . . ). Clarifying such an hermeneutic relationsip intends to renew the understanding of a whole series of texts typical of the period. Asserting the heuristic and ethic virtues of debates and allowing for the constraints of argumentation tend to play a growing part in the works of leon battista alberti (1404-1472). The "inventor" of the vulgar dialogue. The new type of "speaking subject" who emerges therefrom cannot be dissociated from the linguistic choices made by the author of libri della famiglia (1433-34 and 1437), theogenius (c. 1440) and profugiorum ab aerumna libri (e. 1442). Through a careful analysis of the dialogic facture of these texts, one can observe, in the practical use of language, the advent of a model of harmonious relationships which standas the very opposite of the erring ways and other deviations that the latin alberti fustigates through irony, parody and paradox. The "legitima costruzione" of alberti's vulgar dialogues lays the foundations of a "dialogic play" which continuously features the prerequisites of a reconsidered "communicability"
26
Oliveira, Roberto Silva de. "A cidade e o pensamento político de Leon Battista Alberti no De Re Aedificatoria e outros escritos." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/11989.
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Submitted by Francisco Costa (xcosta@ufba.br) on 2013-06-03T13:45:44Z
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A CIDADE E O PENSAMENTO POLÍTICO DE LEON BATTISTA ALBERTI NO DE RE AEDIFICATORIA E OUTROS ESCRITO.pdf: 12031214 bytes, checksum: 51272e74a44ef23a3b8f9d19f51ae7ed (MD5)<br>Made available in DSpace on 2013-06-19T03:32:42Z (GMT). No. of bitstreams: 1
A CIDADE E O PENSAMENTO POLÍTICO DE LEON BATTISTA ALBERTI NO DE RE AEDIFICATORIA E OUTROS ESCRITO.pdf: 12031214 bytes, checksum: 51272e74a44ef23a3b8f9d19f51ae7ed (MD5)<br>Considerado o “Vitrúvio Florentino”, Leon Battista Alberti legou à Modernidade extensa obra de caráter filosófico, político e técnico, em que se destaca o De Re Ædificatoria, ou o Tratado de Arquitetura, como ficou mais conhecido. Sob a influência da Antiguidade Clássica, especialmente das obras de Vitrúvio, Platão, Aristóteles e Cícero, o De Re Ædificatoria constituiu-se no marco fundamental da arquitetura na Idade Moderna. Objetiva-se com este trabalho analisar o pensamento arquitetônico e urbanístico de Alberti assim como suas
implicações políticas no âmbito do humanismo cívico do século XV. Foram utilizados para o
exame da obra os conceitos de representações sociais, de práticas culturais e de identidade/alteridade. Em termos metodológicos, a referência é o Estruturalismo genético de Lucien Goldmann, que orientou a organização do trabalho em três capítulos, sendo o primeiro
uma exposição do contexto histórico no qual Alberti e sua obra tiveram origem; o segundo,
uma apresentação da tradição literária que fundamentava as discussões políticas do
humanismo da época; e o terceiro, uma análise do discurso apresentado por ele no De Re
Ædificatoria. Estas partes articuladas permitem verificar que o discurso albertiano prestou importante contribuição à arquitetura, ao urbanismo e à filosofia política do Mundo Moderno.<br>Salvador
27
AMORIM, Breno Gomes de Lima. "Diálogos entre antigos e modernos: a recepção da Antiguidade Clássica no sobre a família de Leon Battista Alberti." Universidade Federal de Campina Grande, 2016. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/467.
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Previous issue date: 2016-06-07<br>O presente trabalho procura analisar a presença do mundo antigo na obra Sobre a Família, escrita pelo florentino Leon Battista Alberti, no século XV. O Sobre a Família se constitui como um manual cívico elaborado com a intenção de formular um modelo de família considerado útil para a Florença do Quattrocento. Em um primeiro momento, discutimos sobre o conceito de família na antiguidade, levando em consideração sua ambigüidade e artificialidade, e como se construiu o discurso da importância da família para a conservação dos valores citadinos. Mapeamos elementos do mundo grecoromano que servem para justificar o modelo de família proposto pelo humanista. Do mesmo modo, problematizamos em que medida os temas postos pela historiografia da Roma Antiga são apropriados com a intenção de incutir no cidadão florentino o apreço pela virtude. Por fim, analisar-se-á como a antiguidade é recepcionada em períodos posteriores. Trata-se de perceber como o passado (antiguidade) pode sugerir algo em um determinado presente (século XV).<br>The present paper seeks to analyze the presence of the ancient world in the work On the
Family, written by the Florentine Leon Battista Alberti, in the fifteenth century. On the Family is constituted as a civic manual developed with the intent of formulating a famil y model considered useful for the Florence of the Quattrocento period. I n a first moment, we discussed about the concept of family in ancient times, taking into consideration its ambiguity and artificiality, as well as how the discourse on the
importance of the family was constructed for conserving the city values. We mapped
elements of the Greco-Roman world that serve to justify the family model proposed by
the referred humanist. In the same way, we questioned to what extent the topics pointed
by the historiography of Ancient Rome are appropriated with the intention of instilling
in the Florentine citizen an appreciation for virtue. At last, we will analyze how
antiquity is received in poster periods of time. We seek to perceive how the past
(antiquity) may suggest something in a given present time (the fifteenth century).
28
Mandosio, Jean-Marc. "La classification des sciences et des arts a la renaissance : ange politien, l'omniscient (panepistemon, 1492) : edition, traduction et commentaire." Paris, EPHE, 1998. http://www.theses.fr/1998EPHE4045.
Full textAbstract:
Le panepistemon d'ange politien, lecon inaugurale d'un cours sur aristote (prononcee en 1490 et publiee en 1492), presente, en soixante-cinq courts paragraphes, tous les arts et toutes les disciplines. Bien que cet opuscule complexe et enigmatique soit considere comme fondamental par les historiens de la renaissance, il n'a jamais fait l'objet d'une etude d'ensemble qui en etablisse clairement lecontenu et la portee. On montre ici que politien, proche des idees de jean pic de la mirandole, fait preuve d'une << omniscience >> de type philologique : son propos est de repertorier, dans une perspective eclectique de conciliation des diverses doctrines philosophiques, les termes principaux des arts et des sciences de l'antiquite, meme si en realite il s'inspire parfois de sources medievales ou contemporaines. Le panepistemon constitue a la fois un point d'aboutissement de la reflexion des humanistes italiens du xve siecle sur l'encyclopedisme, et le prototype des grandes tentatives de synthese encyclopedique du xvie siecle. La comparaison de la classification de politien avec celles de ses predecesseurs (notamment leon battista alberti, auquel un long chapitre est ici consacre) et de ses contemporains (jerome savonarole, giorgio valla, gregor reisch), ainsi que la reconstitution de la fortune du panepistemon (a travers un certain nombre de reprises et de plagiats), permettent de situer cet ouvrage dans l'histoire de la culture europeenne des temps modernes. Ce texte fait ici l'objet, pour la premiere fois, d'une edition critique, d'une traduction et d'un commentaire detaille, avec indication des sources.
29
Camelo, Midori Hijioka. "O espelho e a janela: as investigações ópticas de Filippo Brunelleschi (1377-1446) e Leon Battista Alberti (1404-1472) para a "costruzione legittima"." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/13444.
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Previous issue date: 2009-10-16<br>This work tried to identify the contributions of Filippo Brunelleschi and Leon Battista Alberti to the geometrical optics study. Tradicinally, seen by the history of arts and architecture study as inventors of the perspective, in this history of science study, the issue of genealogy was left behind, so they could find in the investigations about costruzione legittima , contributions for the geometrical optics.
The period lived by Brunelleschi and Albert, the Renaissance one, shows many changing elements that made the transition from the Medieval and the Modern History. Specially about the perspective study, it s an incorporating moment, with a different meaning to the word. What used to be the synonym of optics throughout Middle Age, thanks largely to the investigations of architects and painters started then, has now the idea of the representation way , keeping it though the time, like we understand it today.
Along with the complex movement of approaching of the heavenly thing to the ones here on Earth, witch in canvas mean the introduction of elements of the real world in representations, we can also see an approach of mathematics to the useful things of life, and geometry becomes equally important to the costruzione legittima of visual reality. In the arts and science knowledge and duties meetings, brought to you by the humanism, the spirit of modern science blends together, In the history of geometrical and experimental optics, the art of painting is show more present than it was traditionally thought to.
At the time of seeing, the birth of modern science, the connections of Brunellesch and Alberti revealed how artificial the limit of art and science, the duties and the knowledge<br>Esta pesquisa buscou identificar as contribuições de Filippo Brunelleschi e Leon Battista Alberti para o estudo da óptica geométrica. Tradicionalmente, disputados pelos estudiosos da história da arte e arquitetura como inventores da perspectiva, neste estudo em história da ciência, deixaram-se de lado a questão de genealogia para encontrar, no interior das investigações para a costruzione legittima , contribuições para a óptica geométrica.
O período vivido por Brunelleschi e Alberti, o Renascimento, apresenta muitos elementos de transformações que marcaram historicamente a transição entre o Medieval e o Moderno. Particularmente para o estudo da perspectiva, trata-se de um momento de formação de um novo significado para o termo. O que era sinônimo de óptica durante toda Idade Média, passa a incorporar, graças às investigações dos pintores e arquitetos iniciada ali, a idéia de modo de representação , ficando no decorrer do tempo somente com esta última, tal como entendemos hoje.
Juntamente com o complexo movimento de aproximação de elementos do mundo real para a pintura, vemos ocorrer uma aproximação da geometria à forma de representação. No encontro de saberes e fazeres, de arte e ciência, plasma-se o espírito da ciência moderna. Na história da óptica geométrica e experimental, a arte da pintura mostra-se mais presente que tradicionalmente se pensa.
Ao vislumbrar, no alvorecer da ciência moderna, as conexões entre Brunelleschi e Alberti revelou-se a artificialidade da fronteira entre a arte e a ciência, o fazer e o saber
30
Maxson, Brian. "Review of Living Well in Renaissance Italy: The Virtues of Humanism and the Irony of Leon Battista Alberti, by Timothy Kircher." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/6196.
Full textAbstract:
Leon Battista Alberti wrote with a sense of irony that separated his works from his humanist contemporaries and linked him to the tradition of fourteenth-century vernacular writers, particularly Petrarch and Boccaccio. His irony was characterized by his encouragement to look for virtue beneath appearances and his distrust of equating virtue with humanist learning.
31
Lorch, Ingomar. "Die Kirchenfassade in Italien von 1450 bis 1527 : Die Grundlagen durch Leon Battista Alberti und die Weiterentwicklung des basilikalen Fassadenspiegels bis zum Sacco di Roma /." Hildesheim : Georg Olms, 1999. http://catalogue.bnf.fr/ark:/12148/cb390498584.
Full text
32
Stroher, Ronaldo de Azambuja. "Lições Albertianas : para a teoria e a prática da arquitetura contemporânea." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7681.
Full textAbstract:
Este trabalho se fundamenta na constatação da importância que os aspectos artísticos desempenham na produção e na apreciação da arquitetura, qualificando-a ao mesmo tempo em que problematizam seu ensino e sua avaliação. Considerando essa ambivalência como um traço distintivo que resiste há muito tempo à tentativa de objetivar a disciplina, o processo da subjetividade na arquitetura é aqui abordado a partir de um personagem do Renascimento, época em que efetivamente se estabelece e se consolida a crítica arquitetônica. Leon Battista Alberti, na condição de autor do primeiro tratado de arquitetura do período e de obras que contribuíram para as transformações estéticas de seu tempo, nos mostra, através da teoria e da prática profissional, a atualidade de uma postura que assume as incertezas que caracterizam a disciplina.<br>This work relies on the assumption that artistic aspects play a fundamental role in the production and appreciation of architecture, both qualifying and questioning its teaching and evaluation. Considering this ambivalence as a distinctive feature that for a long time has resisted the efforts in making the discipline an objective field, the subjective character in architecture is here approached having a Renaissance thinker as a reference, in a period when architectural criticism was established and consolidated. Leon Battista Alberti, as the writer of the first architectural treatise and the author of projects that express the aesthetic changes of his time, displays an attitude that remains pertinent today, embracing in theory and practice the uncertainties that are distinctive of the discipline.
33
Bonzani, Stéphane. "La ligne d'édifier : invention architecturale et transmilieu(x)." Lyon 3, 2010. http://www.theses.fr/2010LYO31037.
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Que veut dire inventer en architecture ? Cette vieille question se trouve reposée aujourd’hui avec insistance. En effet, les conditions contemporaines de l’habitation humaine caractérisées par une forme d’épuisement du dehors ont profondément bouleversé les modalités de cette activité. Fondée, dans la pensée occidentale du moins, sur un mouvement d’expansion, la constitution de milieux habités trouvait son sens dans la tension du rapport inquiet mais fertile à l’étrangeté radicale de l’extériorité. Afin d’analyser cette mutation, nous cherchons d’abord à saisir la profonde originalité de l’invention architecturale désignée comme « ligne d’édifier ». Son mouvement rythmique n’est ni celui de la découverte, ni celui de la création, mais procède plutôt par ouverture ou instauration d’un milieu habitable. Cette définition permet ensuite de revisiter quelques grands textes fondamentaux de l’histoire de l’architecture (Vitruve, Alberti, Ledoux, Le Corbusier). Interrogés à partir de l’hypothèse d’un effacement progressif de l’extériorité à l’empire humain, ces écrits laissent percevoir comment la ligne d’édifier, cette ligne du monde, s’infléchit jusqu’à éprouver une situation limite : le bouclage. La dernière partie de la recherche explore plus directement la situation contemporaine et les pistes émergentes permettant de sortir de l’épuisement. L’hypothèse de réponse, basée sur la puissance régénérative de l’invention architecturale par la reliance, invite à élaborer le concept de transmilieu(x). Dépassant les frontières entre les échelles, les disciplines, et entre nature et culture, ce concept pourrait constituer le point de départ d’une autre pensée de l’architecture<br>What does inventing mean in architecture? This ages-old question is being strongly reevaluated nowadays. Indeed, the contemporary conditions of human habitat, characterized by the outside being exhausted, have considerably changed this activity. Architectural invention has always been based, in Western thought at least, on a spreading movement. The conception of inhabited milieu has been dealing with the worrying but bountiful relationship with the strange exterior forces. In order to report on this metamorphosis, we have tried to define the profound originality of architectural invention as "the building line". Its rhythmic movement is neither that of discovery, nor that of creation, but rather proceeds by opening or establishing a livable environment. This definition then allows some of the great texts from the history of architecture (Vitruvius, Alberti, Ledoux, Le Corbusier) to be analyzed in a new way. Questions arise from the hypothesis of progressive disappearance of the exterior from the human empire. The analysis shows how the building line continues in parallel to the progressive loss of the exterior, bending until it turns back on itself, leading to a critical situation (the “bouclage”). The last part of the thesis investigates the contemporary age in more detail and aims to identify the emergent perspectives trying to escape from this situation. The answer is based on the regenerative power of architecture through interlinking (“reliance”), and it leads on develop the concept of “transmilieu(x)”. The concept travels beyond the frontiers between scales, disciplines, nature and culture, and could be the starting point of another way of thinking in architecture
34
Paoli, Michel. "Sens et fonctions de l'idée de nature dans la pensée de L. B. Alberti." Paris 4, 1994. http://www.theses.fr/1994PA040257.
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L'objectif de notre étude est de montrer que la pensée de l'architecte-humaniste L. B. Alberti se construit autour d'une perception complexe et originale et la nature. Qu'il la sollicite dans les domaines de la connaissance, de la morale et de la politique (De familia), ou de l'esthétique (De re oedificatoria), pour Alberti, la nature n'est pas une notion univoque modèle de perfection et, partant, concept désuet - dont on pourrait résumer les attributs en quelques mots. Elle est presque simultanément la réalité - qu'il faut accepter -, un programme que l'on doit réaliser, un idéal à respecter. Et dès lors, les relations que la nature entretient avec l'homme sont tout aussi complexes, puisque la nature est en même temps ce qui est à l'origine de la raison humaine, ce que la raison doit accepter et ce qu'elle doit naturellement contribuer à parachever. En somme, la nature ne fait pas l'objet d'une contemplation spontanée, voire naïve. Elle n'est pas uniquement ordre et harmonie. La nature albertienne est, en effet, d'abord une idée humaine, constituée pour être utile à l'homme. Et, dans cette optique, la première chose à faire est de penser la nature, et de la penser comme une chose complexe qui puisse mettre l'homme à la fois sur la voie de l'acceptation et sur celle de l'action. Dans la pensée d’Alberti, la notion de nature sert donc à unifier philosophiquement les points de vue tout en respectant les interactions entre réalité, hasard, raison, humanité. .<br>The purpose of our study is to shows that L. B. Alberti's - humanist-architect - thought is constructed around an original and complex perception of nature. Alberti uses the nature in the fields of knowledge, morals and politics (De familia), or aesthetics (De re oedificatoria). . . , but not as a univocal idea - model of perfection and out-of-date concept whose attributes could be summarized in a few words. Nature is almost simultaneously reality - which should be accepted - , a programme to be realized, and an ideal to be respected. Therefore, the links between nature and man are just as complex, since nature is all together what is at the origin of human's reason, what the reason should accept and finally what it should naturally contribute to complete. On the whole, nature is not contemplated in a spontaneous nor in an ingenuous way. It is not only order and harmony. The albertian nature is at first a human notion, constituted to be useful to man. And, from this point of view, the first thing to do is to think the nature, to think of it as a complex thing that could lead man on both paths of acceptation and action. In Alberti's thought, the notion of nature is used to philosophically unify the points of view, while respecting the interactions between reality, fortune, reason and human's nature
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Manenti, Leandro. "Intervenções reabilitadoras do período renascentista italiano." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/6822.
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A presente dissertação procura analisar e discutir as obras de reabilitação de edificações existentes no período do Renascimento Italiano, compreendido entre os séculos XV e XVI. Nosso estudo buscou este período histórico por se tratar dos primórdios deste tipo de intervenção praticadas de forma consciente e com conhecimento histórico, além do fato de o confronto entre a situação existente e as novas inserções constituírem um rico universo de estudo das transformações sociais e arquitetônicas do período. Através da análise de obras de três arquitetos (Leon Battista Alberti, Michelangelo Buonarroti e Andrea Palladio), procuramos: entender como se operavam tais intervenções, reconstituindo a situação existente e as novas inserções a partir da historiografia do projeto e do contexto histórico que o cerca; identificar as interpretações de uma determinada sociedade sobre seus edifícios em épocas distintas; e buscar posturas e exemplos de projetos para nosso presente.
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Bourgoin, Véronique. "Synthèse en trois dimensions : analyse et recherche de modèles de projection, inspirés des concepts développés au cours de l'histoire de l'art." Phd thesis, Université Paris VIII Vincennes-Saint Denis, 1994. http://tel.archives-ouvertes.fr/tel-00838648.
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De nombreuses perspectives ont été et sont utilisées dans le monde de la représentation. Choisir l'une d'elle reflète une certaine façon de percevoir le monde. Le réalisme du point vue unique et fixe, semble ne répondre qu'à une convention culturelle. En effet, lorsqu'on regarde quelque chose, le regard balaye la scène avec deux yeux. Nous avons donc deux points de vue mobiles. Dans l'abstraction représentationnelle occidentale, le spectateur, en tant que corps, est réduit à un oeil, lui même compressé en un point. Le questionnement sur le réalisme de l'image s'impose. L'image dite réaliste renvoie-t-elle à une réalité, en tant que telle, existant dans le monde de façon absolue et directement accessible à l'exclusion de tout code transcriptif, ou à un concept culturellement acquis comme réaliste et qui ne renvoie qu'à lui-même? Le travail de cette thèse consiste à introduire dans la synthèse d'images différents systèmes de représentation, dont le "réalisme" de chacun, d'un point de vue intellectuel, est aussi légitime que le "réalisme" photographique. Cette recherche ne s'inscrit pas dans le cadre d'une recherche scientifique, dont l'objectif serait de construire des modèles dont les règles de fonctionnement correspondraient à des lois absolues de la nature. Nous nous trouvons en présence de modèles issus des seules sciences humaines et d'interprétations sensorielles. L'objectif de ce travail se résume donc à extraire les concepts qui régissent chaque style de représentation. En essayant de rester fidèle à ces concepts de base, nous définissons des fonctions de projection, et dans le cadre de nos résultats nous ne conservons que les images dont l'esthétique nous semble radicalement nouvelle. L'enjeu n'est donc pas de faire de la perspectiva naturalis de façon radicale et ressemblante, ni de systématiser les principes du Cubisme pour réaliser un modeleur cubiste, mais, à partir de différentes idées sur le "réalisme", de créer de nouvelles images, propres à surprendre dans leur organisation formelle. Ce travail théorique sera complété par un développement plastique comprenant une exploitation picturale et vidéo de ces modèles de projection.
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Paviol, Sophie. "Formes abstraites et pensée organique : l'architecture de Giuseppe Terragni (1927-1943)." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0107.
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Ce travail a essayé de rencontrer une architecture et un processus de conception architecturale en conjuguant les techniques de l'historien et celles de l'architecte. Les dispositifs spatiaux et constructifs de l'architecture de Giuseppe Terragni ont été décrits par les mots et par le dessin, réactivés par la dialectique d'Alberti sur le mur et la colonne dans le De re aedificatoria et par la pensée corbuséenne de l'espace à la fin des années vingt. Ces "objets théoriques" permettent de penser la spécificité des formes spatiales de Terragni à l'aune de deux traditions réinventées et de mieux saisir la manière dont chaque édifice ne s'installe pas dans le paysage, mais installe le paysage alentour dans son intériorité, n'invente pas les formes constituantes de l'espace, mais invente l'espace "en tant que tel" et sa "vérité constructive" en fonction de ce qu'il est<br>This work as tried to confront an architectural object with a process of architectural design by combining the techniques of the historian and those of the architecte. The spatial and constructive forms of Giuseppe Terragni's architecture have been describe in words and in drawings which have been analysed in the light of Alberti's dialectic on the column and the wall in his De re aedificatoria and the thinking of Le Corbusier concerning space at the end of the 1920's. These theoretical elements enable us better to analyse the specificity of Giuseppe Terragni's spatial forms in relation to two renewed traditions, and better to understand the way that each edifice does not fit into the given landscape but rather establishes the landscape within the edifice, and the way that each edifice does not create the components of space, but creates space "as such", inventing its "own constructive truth" in accordance with what it his
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Correard, Nicolas. ""Rire et douter" : lucianisme, septicisme(s) et pré-histoire du roman européen (XVème -XVIIIème siècle)." Paris 7, 2008. http://www.theses.fr/2008PA070065.
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Peut-être le plus grand auteur ménippéen de l'Antiquité, sans doute le plus influent de la Renaissance aux Lumières, Lucien de Samosate satirisait les philosophes discordants. Sur son exemple, Alberti, Érasme, Rabelais, Quevedo, Cyrano, Swift, Voltaire, Sterne et bien d'autres (Galateo, Vives, Doni, Des Périers, Cunaeus, Saavedra Fajardo, Cavendish, Fontenelle, Prior, Peacock) satirisent les disputes savantes de leur temps, prenant pour cibles les métaphysiciens chimériques, les maîtres humanistes, les théologiens querelleurs, les pédants qui dogmatisent, les historiographes minutieux, les savants expérimentaux ou les philosophes systématiques. Notre thèse parcourt ce vaste corpus suivant un plan chrono-thématique : la première partie s'attache aux formes de la satire à la Renaissance, quand l'incrédulité lucianesque, le doute sceptique, l'anti-intellectualisme cynique et la réprobation chrétienne de la lidido sciendi se conjuguent dans la critique railleuse de la vanité et de l'incertitude affectant les discours savants. La seconde montre la marginalisation progressive de ce type d'écriture serio-comique, désormais perçu comme « littéraire », au cours des XVIIe et XVIIIe siècles. Destinée à être absorbée par le roman, cette tradition de la fiction pré-moderne permet de critiquer l'excès de savoir et d'intellectualité, de méditer en moraliste sur les limites de la connaissance, parfois de reconnaître humblement son ignorance pour la donner en exemple. Pour être comprise, l'invention fantaisiste ne doit pas être détachée de son enjeu épistémologique : quand la fiction traite les savoirs de fables et les doctes de fabulateurs, le rire est souvent l'autre face du doute<br>Possibly the fînest of all Menippean satirists in antiquity and certainly the most influential from the Renaissance on to the Enlightenment, Lucian of Samosata used to satirize dissenting philosophers. Following his example, Alberti, Erasmus, Quevedo, Cyrano, Swift, Voltaire, Sterne and niany more (Galateo, Vives, Doni, Des Periers, Cunaeus, Saavedra Fajardo, Cavendish, Fontenelle, Prior, Peacock) intended to satirize the scholarly disputes of their time, targeting fanciful metaphysicians, masters of the humanist encyclopaedia, quarrelsome theologians, dogmatizing pedants, minute historiographes, experimental scientists or systematic philosophers. The first part of our study deals with the forms ma functions of satire during the Renaissance period: lucianic incredulity, sceptical doubt, cynical anti-intellectualism and the Christian reproof of libido sciendi ail concur in the jesting criticism of the vanity and uncertainty of science. The second part shows the progressive marginalization of this type of serio-comical writing, now perceived as "literary", during the early-modern period (XVIIth - XVIIIth century). Ultimately absorbed by the novel, this tradition of serio-comical fiction was originally very distinct from it: its main aim was to criticize the excesses of intellectuality and to meditate on the limits of knowledge. Sometimes, authors used it to express an openly sceptical point of view, confessing their ignorance to set an example. Their fanciful creations should not be detached from their epistemological point: when fiction treats knowledge as fables and scholars as fiction writers, laughing and doubting are often the two sides of the same coin
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Gress, Thibaut. "Le sens du sensible. Essai de théorisation d’une philosophie de l’art à partir de la peinture renaissante." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040240.
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Il s’agit dans cette thèse de penser les conditions de possibilité d’une philosophie de l’art à partir d’un examen précis et rigoureux de la production artistique picturale de la Renaissance italienne. Cherchant d’abord à définir une méthode, nous étudions en détail les présupposés de l’iconologie afin d’établir ce qui nous en semble être les limites. Puis, forts de cette analyse, nous en déduisons la nécessité d’une philosophie de l’art qui, loin de se contenter d’une analyse érudite de l’icône, cherche à extraire la signification de l’œuvre à partir de sa forme sensible. Si les pensées de Platon, Hume et Kant nous semblent échouer à proposer pareille démarche, les leçons de Hegel consacrées à l’Esthétique nous offrent un schéma analytique opérant, grâce auquel l’espace, le dessin et le coloris fournissent le lieu même à partir duquel peut surgir le sens. C’est ainsi que les œuvres de Fra Angelico, Botticelli, Léonard de Vinci et Michel-Ange constituent le matériau artistique grâce auquel nous mettons à l’épreuve la pertinence du triptyque espace-dessin-coloris, tel qu’il fut élaboré par Hegel. En outre, ce sont les pensées philosophiques consacrées au lieu, à la lumière ou encore à la couleur que nous convoquons – tant chez Thomas d’Aquin que chez Marsile Ficin, chez Albert le Grand que chez Plotin, chez Aristote que chez Nicolas de Cues – afin de proposer un sens philosophique des œuvres picturales, que ne nous semblent paradoxalement pas pouvoir délivrer les théories de l’art que proposent ces derniers. Chercher le sens philosophique des œuvres à même leur sensibilité et non dans une théorie de l’image, tel est donc le projet essentiel de cette thèse<br>This thesis discusses the conditions of possibility for a philosophy of art based on a precise and rigorous analysis of the pictorial artistic production of the Italian Renaissance. After attempting at defining a method, the presuppositions of iconology are studied in detail with a view to establishing what appear to be their limits. On the basis of this analysis, the author deduces the need for a philosophy of art which, rather than just carrying out an erudite analysis of the icon, endeavours to extract the meaning of a work of art on the basis of its sensitive shape. While Plato, Hume and Kant’s thoughts seem to fail in proposing such an approach, Hegel’s teachings dedicated to aesthetics offer an operational analytical framework, thanks to which space, drawing and colour provide the very place out of which sense can come into being.Hence the works of Fra Angelico, Botticelli, Leonardo da Vinci and Michelangelo constitute the artistic material out of which the relevance of the space-drawing-colour triptych, as developed by Hegel, is put to the test. Furthermore, reference is made to the philosophical thoughts on space, light and colour – as expressed by authors like Thomas Aquinas, Marsilio Ficino, Albert the Great, Plotinus, Aristotle and Nicholas of Kues – with a view to proposing a philosophical sense of pictorial works of art, which paradoxically the theories of art provided by these authors do not seem able to deliver. It is the fundamental aim of this thesis to look for the philosophical sense of works of art through their own sensitiveness and not through a theory of the image
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Vallance, Laurent. "« Di cose si poco per se piacenti » : les grammairiens italiens de la Renaissance face à leur langue." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0018.
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Le corpus comprend les principales grammaires en Vulgaire (toscan) des 15ème et 16ème s. , une bonne vingtaine, d’Alberti à Salviati en passant par Corso et Castelvetro. J’ai considéré ces manuels ou traités non comme des répertoires obsolètes de règles grammaticales plus ou moins pertinentes, mais comme des ouvrages littéraires concrets, écrits pour un public précis et avec un objectif donné, dans une situation historique particulière. Aussi les deux premiers chapitres sont-ils consacrés, l’un à l’analyse des titres, à la langue que les grammaires prétendent traiter et dans laquelle elles sont rédigées, et aux difficultés rencontrées dans leur entreprise par les non-Toscans, l’autre à un examen de la méthode suivie par les auteurs, à l’orientation et à la destination des grammaires, et à la place accordée à la langue parlée. Le chapitre 3 étudie la composition des grammaires, les parties du discours qui en constituent la structure, et la mise en forme et en page des ouvrages. Deux chapitres sur le nom et le verbe sont complétés d’un gros plan sur trois innovations majeures du toscan : les articles, défini et indéfini, et les questions liées de la déclinaison et de l’ordre des mots ; les temps composés, leur valeur et leurs rapports avec les temps simples ; le conditionnel et sa lente émancipation du subjonctif. Toutes ces analyses permettent d’esquisser une généalogie de la production grammaticale et de dresser un lexique très complet de la terminologie linguistique italienne de la Renaissance. Cette étude est utile à tous ceux qui s’intéressent à l’histoire des idées linguistiques en Italie ou en Europe et aux débuts de la grammaire de l’italien et des langues romanes<br>The corpus contains the main grammars (over 20) written in Volgare (Tuscan) during the 15th and 16th centuries, from Alberti to Castelvetro and Salviati. These treatises or handbooks are not considered here as old-fashioned collections of rules that are still more or less valid, but rather as concrete literary works that were composed for specific readers and with a specific purpose in a particular historical situation. The first two parts are thus not concerned with grammatical issues per se. Chapter 1 offers an analysis of the titles, a consideration of the language the grammars deal with and are written in, and of the problems the non-Tuscan authors faced. Chapter 2 examines the method used by the grammarians, the character and intent of their works, and how some had regard for the spoken language. Chapter 3 focuses on the overall structure of the grammars, on the parts of speech which are their main organizing principle, and on the typography and page layout. Two chapters about the noun (5) and the verb (6) are developed by a detailed study of three of the most important innovations of the Tuscan language : the articles (4), both definite and indefinite, and the associated loss of inflections and change in the order of words in the sentence ; the compound tenses (7) and their relation to the simple tenses ; the conditional mood (8) and its gradual emancipation from the subjunctive. All these analyses also provide a complete lexicon of the old Italian linguistic terminology. This monograph about the early Italian grammars aims to be a useful study for those who are interested in the history of linguistics in Italy and of modern European languages in the Renaissance
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Bert, Mathilde. "Lectures, réécritures et peintures à partir de Pline l'Ancien : la réception de l'"Histoire naturelle" en Italie, de Pétrarque à Vasari." Paris 1, 2012. http://www.theses.fr/2012PA010624.
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L'étude examine la façon dont les informations que Pline l'Ancien livre sur la peinture antique dans son Histoire naturelle ont été perçues et exploitées dans l'Italie de la Renaissance, depuis Pétrarque (v. 1350) jusqu'à la seconde édition des "Vies" de Vasari (1568). Elle montre que les échos de Pline observables dans les textes et les œuvres constituent des clés pour comprendre les enjeux artistiques, théoriques et sociaux inhérents aux pratiques picturales de l'époque. Pour mener à bien cette enquête, plusieurs types de sources et d'éclairages ont été mis à contribution. Sont d'abord examinées les données propres à la transmission éditoriale de "l'Histoire naturelle". Le recours à Pline est ensuite abordé dans la littérature artistique et dans la pratique picturale. Enfin, l'émulation d'Apelle est considérée dans la pratique artistique à travers l'étude de la signature formulée à l'imparfait. Il s'agit en effet d'une façon de signer que Pline attribue au peintre grec et que les artistes de la Renaissance vont adopter à partir de la fin du XVe siècle. Outre de larges développements consacrés à Pétrarque, Alberti, Ghiberti, Castiglione, Pino, Dolce et Vasari, l'étude aborde également les échos pliniens présents chez de nombreux artistes et humanistes. Ainsi, l'enquête souligne la diversification des formes et des fonctions de l'emprunt à Pline, tout comme ses principaux accents, à savoir la valorisation culturelle et sociale de la peinture et la réflexion sur les genres et les styles picturaux (portrait, paysage, nu féminin, querelle du "disegno" et du "colorito" , "paragone" des arts).
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Debenedetti, Ana. "Dans l’antre des nymphes : études sur les rapports entre la pensée magique de Marsile Ficin et les premières théories de l’art à Florence au XVe siècle." Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE4004.
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Au XVe siècle, le philosophe florentin Marsile Ficin (1433-1499) rédige un texte singulier intitulé De vita coelitus comparanda ou « comment obtenir la vie du ciel » qui deviendra le troisième et dernier livre d’un ouvrage médical de plus large envergure, le De vita libri tres, consacré à conserver et à prolonger la santé des hommes de lettres accablés sous le poids de l’étude. Ce texte est tout entier consacré au pouvoir apotropaïque et prophylactique du talisman ou « image astrologique », une notion savante qui apparaît en Occident au milieu du XIIIe siècle, et insiste tout particulièrement sur la matérialité, la forme et l’apparence de ces images. Ainsi Ficin développe-t-il un discours original par rapport à la tradition en se concentrant sur le processus de fabrication, discours qui n’est pas sans rappeler les premières théories de l’art qui apparaissent à la même époque à Florence. Ficin réhabilite la figure du mage antique dans le cadre d’une réflexion plus vaste qui met en exergue le pouvoir créateur de l’homme en tant que savant, humaniste et philosophe. Si le postulat d’une influence tardive du néoplatonisme ficinien sur la littérature artistique du XVIe siècle a donné lieu à de nombreuses études, il apparaît en revanche que les rapports que Ficin était susceptible d’entretenir avec le monde des artistes, et surtout des artistes-théoriciens du XVe siècle, demeure un terrain relativement peu exploré. Tout l’enjeu de notre travail se situe donc dans la triple interrogation que ce concours de circonstances soulève : quel rôle jouent au sein de la pensée magique de Ficin les allusions à l’art et à sa pratique qui traversent l'ensemble de son œuvre? dans quelle mesure la notion d’«image astrologique» qu’il reprend et développe s’est-elle nourrie de la nouvelle littérature artistique alors en pleine formation? et enfin, comment peut-on affirmer que certaines œuvres typiques du Quattrocento florentin relèvent d’un caractère « mixte » oscillant entre le produit de l’art à proprement parler et l’objet magique?<br>In fifteenth-century Florence, the philosopher Marsilio Ficino (1433-1499) wrote the De vita coelitus comparanda, i.e. “how to capture life from the heavens”, which would later form the last and third book of a larger volume titled De vita libri tres. The latter exposes the means to preserve the health and extend the life of man of letters afflicted by their intense studies. The former deals with the apotropaic and prophylactic power of the talismans also called “astrological images”, following a learned concept which appeared in Western Europe in the mid-thirteenth century, and focuses on the materiality, form and appearance of these images. Ficino hence develops a new reflexion that focuses on the process of making which seems to echo new artistic theories devised during the same period in Florence. Ficino redeems the figure of the ancient magus by enhancing man’s creative power and his status as a philosopher and a humanist. The assumption of a late influence of Ficino’s neoplatonic thought on the arts in the sixteenth century has led to several studies but its genesis and its potential links with the artistic world and, especially his fellows artist-theoreticians, remained to be fully investigated. This thesis aims therefore to investigate the role of the artistic references within Ficino’s magic thought, the influence of contemporary ideas on the art practice upon his conception of “astrological image”, and the nature of specific artworks typical of fifteenth-century Florence, which seem to respond to both a magical and an artistic purpose
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Serio, Valentina. "La Repubblica dei pazzi. Melancolia e follia nel discorso politico da Alberti a Shakespeare." Doctoral thesis, Scuola Normale Superiore, 2018. http://hdl.handle.net/11384/86226.
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Vintenon, Alice. "Phantasia plus quam fantastica : penser en fiction à la Renaissance." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100121.
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This study intends to highlight and explain the development, in the Renaissance, of a category of fictions characterized by their comical improbability and their - more or less serious - claim to convey a philosophical content. Based on a corpus of six Italian and French “philosophical fantasies” (Alberti’s Momus, Ariosto’s Orlando Furioso, Folengo’s Baldo, Rabelais’s works, Ronsard’s “seasonal hymns”, and Philippe d’Alcripe’s Nouvelle Fabrique), our study aims at defining this category, and showing how a fictional pattern, initially borrowed by Italian humanists from Lucian of Samosata, has been adapted to new philosophical stakes and controversies. Our last six chapters are devoted to case studies. The five previous ones explore, from a theoretical perspective, the status of incredible fictions in the horatian, platonic and aristotelian poetics: far from being systematically regarded as lies, or considered as artistic failures, they benefit from the high value granted to fictional invention and to the intellectual impact of astonishment. However, their relationship to the allegorical tradition is complex: while they constantly refer to it, they resist to the allegorizers’s investigation. This ambiguity is specific to the products of creative fantasy which, in Renaissance philosophy, is a strongly ambivalent faculty of the soul<br>This study intends to highlight and explain the development, in the Renaissance, of a category of fictions characterized by their comical improbability and their - more or less serious - claim to convey a philosophical content. Based on a corpus of six Italian and French “philosophical fantasies” (Alberti’s Momus, Ariosto’s Orlando Furioso, Folengo’s Baldo, Rabelais’s works, Ronsard’s “seasonal hymns”, and Philippe d’Alcripe’s Nouvelle Fabrique), our study aims at defining this category, and showing how a fictional pattern, initially borrowed by Italian humanists from Lucian of Samosata, has been adapted to new philosophical stakes and controversies. Our last six chapters are devoted to case studies. The five previous ones explore, from a theoretical perspective, the status of incredible fictions in the horatian, platonic and aristotelian poetics: far from being systematically regarded as lies, or considered as artistic failures, they benefit from the high value granted to fictional invention and to the intellectual impact of astonishment. However, their relationship to the allegorical tradition is complex: while they constantly refer to it, they resist to the allegorizers’s investigation. This ambiguity is specific to the products of creative fantasy which, in Renaissance philosophy, is a strongly ambivalent faculty of the soul
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Lee, Wei, and 李為. "The Study on the Concept of Concinnitas of Leon Battista Alberti''s De Re Aedificatoria." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/4s7ybq.
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碩士<br>國立臺北藝術大學<br>美術史研究所<br>96<br>In the book, De Re Aedificatoria, Leon Battista Alberti believes that expression of harmony and beauty result from the compliance of absolute and fundamental principle of nature demands. The principle might be the concept of concinnitas by Alberti. Alberti holds that beauty in architectural art must be achieved with concinnitas. Thus, the researcher infers that the concept of concinnitas may be the key to the influence of architectural aesthetics or architecture works by Alberti. The researcher attempts to expound the issue with conclusion of the principles of concinnitas and contrast views on architecture works by Alberti.
The paper, based on the title, The Study on the Concept of Concinnitas of Leon Battista Alberti’s De Re Aedificatoria, divides into five chapters. To begin, the researcher discusses domestic and foreign research background, expounds the motives, purposes and study methods in this paper with simple analysis and domestic and foreign papers on this issue. Later, the researcher explores the life of the artist, contents of the book and the architectural aesthetics. To establish architectural aesthetics of Alberti in view of architectural art and beauty in order to infer the possible position and meaning values of the concept of concinnitas in his architectural aesthetics. The concept of concinnitas is then further discussed in architectural art of Alberti. From analysis of Tatarkiewicz and Robert Tavernor on the concept of concinnitas, the researcher further concludes the interpretation of the concept of concinnitas of Alberti. This paper concludes the three principles of concinnitas of Alberti in architectural art: 1) appropriate methods for coordination and integration orders of lineaments and structures, 2) corresponding with common laws of nature, methods of beauty expression of architectural art, and 3) the way of architects, architectural art works and Nature united in one to reach harmony. The researcher then reviews façade design of five works of Alberti, Tempio Malatestiano, Palazzo Rucellai, Santa Maria Novella, San Sebanstiano and Sant’ Andrea to be compared with the agreement and differences between the principle of concinnitas and art practice. Conclusion is made at last on the contribution of core concinnitas concept of architectural aesthetics and works of Alberti.
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Robbins, Jillian Curry Freiberg Jack. "The art of history Livy's Ab Urbe Condita and the visual arts of the early Italian Renaissance /." Diss., 2004. http://etd.lib.fsu.edu/theses/available/etd-01042005-102830.
Full textAbstract:
Thesis (Ph. D.)--Florida State University, 2004.<br>Advisor: Jack Freiberg, Florida State University, College of Visual Arts, Theatre, and Dance, Art History Dept. Title and description from dissertation home page (viewed Jan. 12, 2006). Document formatted into pages; contains vi, 245 pages. Includes bibliographical references.
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Carrer, Tomaso School of Architecture UNSW. "The triumphal arch motif in Sant'Andrea, Mantua: Respondeo and rhetoric in Alberti's architecture and theory." 2007. http://handle.unsw.edu.au/1959.4/40893.
Full textAbstract:
Leon Battista Alberti's church of Sant' Andrea in Mantua has been closely studied by many Renaissance scholars in relation to its layout, dimensions, proportions, chronology, style and aesthetics, as well as earning its place in both Alberti's corpus and the sweep of Renaissance architecture. The thesis investigates how eloquence is embodied in the sequential repetition of the triumphal arch motif between inside and outside. This thesis it is based on extensive and critical review of historical and theoretical literature. It marks a close examination of Sant?Andrea and to lesser extent San Francesco in Rimini, revisiting key ideas, texts and words. The principal finding of the thesis is that Alberti?s concept of respondeo, as developed in De Re Aedificatoria is the key to understanding the triumphal arch motif and its repetition in the interior. The thesis also comprehensively outlines the variety of contexts in which repondeo can be understood. This term, correlated to the passing of time and to rhetorical-based Albertian terms as decorum and convenio, means a 'sensitive suitability' between parts. The analysis of the triumphal arch motif of Sant?Andrea suggests that formalism has played a more important role in Alberti's design for this church than previously believed. This is by the motif's rigorous outline changing between the interior nave and the exterior fa??ade according to the observer's different visual perceptions. The rhetorical structure of the triumphal arch, in the way that it moves became from two to three dimensions in the fa??ade, seeks familiarity with the city's surrounding environment to establish simultaneity of actions. In this way, by joining the historical-religious point of references to a strategy of perception, the triumphal arch achieves public consensus. This rhetorical program is addressed especially by the patron of the church of Sant' Andrea Ludovico Gonzaga II also the ruler of Mantua with popular aspects of his public representations.
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Trindade, António Oriol. "Um olhar sobre a perspectiva linear em Portugal nas pinturas de cavalete, tectos e abóbadas : 1470-1816." Doctoral thesis, 2008. http://sibul.reitoria.ul.pt/F/?func=item-global&doc_library=ULB01&type=03&doc_number=000539355.
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Tese de doutoramento em Belas Artes (Geometria descritiva), apresentada à Universidade de Lisboa através da Faculdade de Belas Artes, 2008<br>Resumo alargado em português e em inglês disponível no documento
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Figueiredo, Bruno. "Descodificação do De re aedificatoria de Alberti: gramáticas de forma para a análise e geração de edifícios sagrados." Doctoral thesis, 2016. http://hdl.handle.net/1822/41518.
Full textAbstract:
Tese de Doutoramento em Arquitectura<br>Esta tese cruza duas áreas disciplinares tradicionalmente distantes, as tecnologias digitais e a História
da Arquitetura, ao propor uma leitura computacional do De re aedificatoria, de Leon Battista Alberti
(1485), pelo recurso ao formalismo das gramáticas de forma para a geração e análise de edifícios
sagrados de planta retangular e correspondente aplicação no auxílio ao escrutínio da existência de
uma arquitetura da Renascença em Portugal.
O legado arquitetónico da teoria e prática de projeto de Alberti evidenciam um pensamento
em que formas antecedentes e consequentes estão profundamente interligadas, podendo ser exploradas
e desenvolvidas pela sua tradução em regras edificatórias, se entendidas como uma forma de
computação. Do mesmo modo, a análise de projetos representativos da arquitetura portuguesa do
período da Contrarreforma à luz de regras arquitetónicas estabelecidas por Alberti sugere a presença
da sua linguagem de projeto nos edifícios portugueses, podendo ser lidos como uma evolução dessa
mesma linguagem.
Com este propósito desenvolve-se uma metodologia de investigação que recorre a modelos
computacionais paramétricos para a geração de edifícios sagrados albertianos, sucedida da avaliação
analítica inversa da sua capacidade generativa relativamente a um corpus de igrejas portuguesas construídas
nos séculos XVI e XVII, identificando-se aspectos morfológicos e proporcionais em que são
concordantes com o cânone de Alberti, e outros divergentes, que auxiliam à compreensão de uma
evolução linguística da arquitetura portuguesa desse período.<br>The thesis crosses two traditionally distant disciplines, digital technologies and History of Architecture,
proposing a computational reading of De re aedificatoria, from Leon Battista Alberti (1485),
by the use of shape grammars formalism to generate and analyse sacred buildings inscribed in a
rectangular plan and subsequent application in the scrutiny of the existence of a Renaissance architecture
in Portugal.
The architectural legacy from the theory and design of Alberti express a thought in which
antecedent and consequent shapes are deeply interconnected and can be explored by its translation
in edificatory rules, if understood as a form of computation. Similarly, the analysis of representative
portuguese architecture from the Counter-Reformation period at the light of architectural rules
established by Alberti, suggests the presence of his design language in portuguese buildings, which
may be read as an evolution from that language.
To this end we developed a research methodology that uses parametric computational
models to generate albertian sacred buildings, followed by a reverse analytical evaluation of their
generative outcomes relatively to a corpus of portuguese churches built in the sixteenth and seventeenth
centuries, identifying morphological and proportional features that are explained by Alberti’s
canon, and others, that help to infer an evolution of the portuguese architecture language from that
period.
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Pinelas, Andreia 1991. "As dicotomias peso/leveza e forma/ideia na escultura : a desmaterialização progressiva do objecto artístico." Master's thesis, 2016. http://hdl.handle.net/10451/23957.
Full textAbstract:
The dichotomies Weight/Lightness and Form/Idea formed the theory and the practice of Art, existing a correspondence between them. The weight exists thanks to the existence of a form that is made of matter; in the other hand, the lightness comes from the idea that is always present when the creation exists. This dichotomies were always interconnected during the centuries, and there are variations in relevancy of form and/or idea. In sculpture´s tradition, the physical weight was a essential reality, and the idea of sculpture, without the immaterial side was underlined to the form. During the centuries, new artistic approaches were born and re-born focused on the frailty, lightness and idea of the artistic object, fact that came to cancel the classic notion of work of art. The concept of image became the focus of the esthetical experience of the subject, which alone, tended to substantiate the artistic object itself. In the same way that lightness, when taken to the extreme, and despite the tridimensionality materiality of the object, begun to relate the art with the own action of the body, the gesture of the artist, rising both to the status of art