Dissertations / Theses on the topic 'Leon Battista'
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Syndikus, Candida. "Leon Battista Alberti : das Bauornament /." Münster : Rhema, 1996. http://catalogue.bnf.fr/ark:/12148/cb370972620.
Full textMorin, Pauline Marie. "Leon Battista Alberti : architect as Orator." Diss., Georgia Institute of Technology, 2002. http://hdl.handle.net/1853/22332.
Full textStolf, Serge. "Ironie et discours chez Leon Battista Alberti." Grenoble 3, 1994. http://www.theses.fr/1994GRE39033.
Full textThis 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
Bianchi, Nella. "Le monde relationnel dans l'oeuvre de Leon Battista Alberti." Paris 3, 1994. http://www.theses.fr/1994PA030152.
Full textThs 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
Wulfram, Hartmut. "Literarische Vitruvrezeption in Leon Battista Albertis "De re aedificatoria" /." München : K. G. Saur, 2001. http://catalogue.bnf.fr/ark:/12148/cb38963958s.
Full textAddis, 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.
Full textAddis, 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/.
Full textBenedetti, 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.
Full textBiermann, 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.
Full textBianchi, 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.
Full textLoewen, 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/.
Full textInspired 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.
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.
Full textPearson, 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.
Full textFurlan, Francesco. "Les Livres de la famille (De familia) de Leon Battista Alberti." Paris, EHESS, 1994. http://www.theses.fr/1994EHESA002.
Full textThis 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
Jarzombek, Mark Michael. "Leon Baptista Alberti : the philosophy of cultural criticism." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/14984.
Full textMICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 355-362.
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.
by Mark Michael Jarzombek.
Ph.D.
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/.
Full textThis 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.
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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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.
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.
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.
Full textTypescript. 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.
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.
Full textCapistrano, 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/.
Full textAlberti 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.
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.
Full textCurrently 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
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
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.
Full textOnecha, 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.
Full text"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.
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 textDe 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.
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 textAn 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"
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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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.
Salvador
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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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).
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).
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 textCamelo, 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.
Full textThis 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
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
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 textLorch, 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 textStroher, 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 textThis 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.
Bonzani, Stéphane. "La ligne d'édifier : invention architecturale et transmilieu(x)." Lyon 3, 2010. http://www.theses.fr/2010LYO31037.
Full textWhat 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
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.
Full textThe 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
Manenti, Leandro. "Intervenções reabilitadoras do período renascentista italiano." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/6822.
Full textBourgoin, 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.
Full textPaviol, Sophie. "Formes abstraites et pensée organique : l'architecture de Giuseppe Terragni (1927-1943)." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0107.
Full textThis 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
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.
Full textPossibly 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
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.
Full textThis 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
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.
Full textThe 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
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.
Full textDebenedetti, 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.
Full textIn 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
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.
Full textVintenon, Alice. "Phantasia plus quam fantastica : penser en fiction à la Renaissance." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100121.
Full textThis 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
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.
Full text國立臺北藝術大學
美術史研究所
96
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.
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 textAdvisor: 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.
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 textTrindade, 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.
Full textResumo alargado em português e em inglês disponível no documento
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 textEsta 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.
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.
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.
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