Dissertations / Theses on the topic 'Painting, Modern 20th century Indonesia'

Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.

This thesis examines the realist art movement from its origins in France in the 1840s to its development in China in the 20th century and its impact on the author as an artist. The thesis reviews the development of realism in France, and traces its impact on Chinese conceptions of realism in the 20th century. The contemporary debates surrounding realism in China are examined and contextualised within the recent history of realism in China. Finally the thesis looks at the impact of realism on the author’s creative practice and a case is argued for the development of realist ideas in a globalised culture and its value as a cross- cultural visual language.

The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.

This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

Orientador: Jorge Coli
Acompanha no v. 1 1 CD-ROM
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O pintor Eliseu d'Angelo Visconti (Salerno, Itália, 1866 - Rio de Janeiro, 1944), apesar de ser precursor do modernismo brasileiro, pioneiro do design no Brasil, e ainda decorador de diversos edifícios importantes do Rio de Janeiro, não tem sua obra conhecida nem valorizada na justa medida, como também grande parte dos artistas brasileiros. A catalogação sistemática da obra de um artista é o procedimento que visa sanar essas faltas e também prevenir e combater a falsificação, que progride na medida em que o mercado de artes plásticas no Brasil é insipiente e o conhecimento do seu objeto é precário. Foi feito, então, um levantamento das pinturas a óleo e de cavalete atribuídas a Visconti, num recorte que exclui toda a sua produção de desenho, pinturas em outras técnicas, projetos para as indústrias artísticas e os grandes painéis decorativos. Para definir o estágio de autenticação de cada pintura e ordená-las cronologicamente, foi realizada uma grande coleta de documentos e críticas publicadas por ocasião das muitas exposições que Visconti participou. Além disso, as características individuais do autor - em termos de cor, fatura, desenho e composição - observadas em suas obras de autoria comprovada, quando estão evidentes em outras pinturas, servem de base para a sua aprovação. Assim, foram destacadas 501 pinturas a óleo, em sua grande maioria comprovadas e aprovadas, num Elenco Cronológico e Iconográfico; acompanhadas de seus dados essenciais e históricos, e de um símbolo de caracterização da obra, que as define em cinco variáveis: autoria, título, imagem, data e coleção. Em separado, são apresentadas mais 115 pinturas, ainda em estudos ou não aprovadas, e acompanhadas dos mesmos elementos. Visconti alcançou uma linguagem plástica pessoal harmonizando elementos de sua formação acadêmica com as tendências do final do século XIX: pré-rafaelismo, impressionismo, simbolismo, artnouveau. Assim, foi inovador e ousado, sem ser contestador ou revoltado
Abstract: The painter Eliseu d'Angelo Visconti (Salerno, Italy, 1866 - Rio de Janeiro, 1944), despite being a precursor of modernism in Brazil, and a pioneer of design in Brazil, and decorator of several important buildings in Rio de Janeiro, his work is neither known nor appreciated in full measure, as happens to most Brazilian artists. The systematic cataloguing of the work of an artist is the procedure that aims to remedy those deficiencies and prevent and combat counterfeiting, which progresses to the extent that the market for visual arts in Brazil is incipient and knowledge of its object is poor. Then it was made a survey of oil paintings attributed to Visconti, a clipping that excludes all of its production design, paintings in other techniques, artistic projects for industries and large decorative panels. To set the stage for authentication of each painting and arrange them chronologically, we performed a large collection of documents and reviews published during the many exhibitions that Visconti participated. In addition, the author's individual characteristics - in terms of color, making, design and composition - seen in his works of authorship verified, once evident in other paintings, are the basis for its approval. Thus, there were 501 outstanding oil paintings, mostly verified and approved, in an Iconographic and Chronological List and, accompanied by their essential data and history; a symbol of characterization of the work, that sets in five variables: author, title, image, date and collection. Separately, more than 115 paintings are displayed, still in studies or non approved and accompanied by the same elements. Visconti reached a personal visual language harmonizing elements of their academic training with the trends of the late nineteenth century: pre-Raphaelitism, impressionism, symbolism, art nouveau. Thus, it was innovative and daring, without being disruptive or revolted
Doutorado
Historia da Arte
Doutor em História

Cette thèse est une étude du mouvement Cobra à travers les œuvres collectives, une de ses composantes caractéristiques. Il s’agit tout d’abord de comprendre le mouvement, ses origines et influences, ainsi que sa visée d’un art libre, ouvert, expérimental, partie prenante de la vie. Dans un contexte social d’après-guerre, souvent politisé, Cobra défend l’action collective, définie notamment dans les notions d’antispécialisme et d’interspécialisme. Il convient de mettre en exergue les origines de cette pratique, et saisir les divers aspects qu’elle arbore, notamment au travers de revues, d’expositions ou de créations partagées. Le poète Christian Dotremont, animateur et âme de Cobra, favorise le travail de collaboration et contribue à son développement en stimulant les rencontres artistiques. Il se fait le passeur et le permanent "agitateur"» de cette notion. Les peintures-mots qu’il crée avec d’autres artistes participent à sa réflexion majeure sur l’écriture et la peinture. Ce lien interpelle quelques artistes belges comme Pierre Alechinsky, mais il passionne Christian Dotremont qui ne cesse de multiplier les expériences à ce propos, pour aboutir à ce qu’il nomme les logogrammes, remarquable fusion de la peinture et de la poésie, et aboutissement de toute une vie de recherche.

Ce travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.

This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

黃仕民.
論文(碩士) -- 香港中文大學硏究院藝術學部, 1996.
參考文献 : leaves 53-55.
Huang Shimin.
前言 --- p.1
Chapter (一） --- 繪畫中使用新物料的起因及其普遍性 --- p.2
Chapter (二） --- 新物料的特質 --- p.5
Chapter (三） --- 在當代繪畫中引起的影響 --- p.10
Chapter (四） --- 結論 --- p.17
附圖 --- p.22
附註 --- p.52
參考書目 --- p.53

李尤猛.
論文(藝術碩士) -- 香港中文大學硏究院藝術學部, 1995.
參考文獻: leaves 31-39.
Li Youmeng.
Chapter (一） --- 西方當代藝術走向的啓示 --- p.1
Chapter (二） --- 在夾縫中求存的本世紀初具象繪畫 --- p.3
Chapter (三） --- 具象繪畫的回歸機遇和空間 --- p.7
Chapter (四） --- 在當代具象繪畫中重建藝術的意義和價値 --- p.12
Chapter (I) --- 具象繪晝´ؤ´ؤ内容的確立 --- p.15
Chapter (II) --- 具象繪畫一一形式的選定 --- p.20
Chapter (III) --- 内容與形式表裏相輔相成 --- p.24
Chapter (五） --- 結語 --- p.26
Chapter (六） --- 註釋 --- p.28
Chapter (七） --- 參考書目 --- p.31
Chapter (I ) --- 期刊 --- p.31
Chapter (II) --- 書籍 --- p.34
Chapter (甲） --- 中文參考書目 --- p.34
Chapter (乙） --- 英文參考畲目 --- p.37
Chapter (八） --- 附圖 --- p.40

This doctorate explores 'Organic Growth and Form in Abstract Painting', as the focus of my studio-based research, and which has resulted in two significant series of paintings, Organica and Streaming. The accompanying exegesis addresses experiences that are realized within the studio practice, and complements the two series of paintings. In the exegesis I describe the innovative and distinctive painting processes I have developed, and explain my motivation for working this way. I cite the writing of the philosopher of science, Henri Bortoft, in particular his description of 'active' seeing, which I suggest can be understood as a kind of modeling of my processes of making the Organica and Streaming paintings. Key to my research has been an investigation into the work of the early Russian avant-garde artist, musician, theorist and teacher, Mikhail Matyushin, who promoted an 'organic' vision of painting during the early years of modernist experimentation, insisting that perception cannot be separated from the body's inherent connection with nature. I discuss how the artists in the Organic studio, led by Matyushin, tested their sensitivity to perceptual and sensory experience with controlled experiments. Philosophically, they considered their findings to be congenial with the latest scientific discoveries of their time. Although my paintings are constructed very differently from those of Matyushin, my approach to perception and interpretation in painting is in sympathy with his thinking. The constructive and perceptual approach I have taken to both series of paintings has been directly influenced by immersion in natural environments. My exegesis provides a detailed account of this working process: how I work with geometric templates for the coordination of colours, and my systematic approach to their application, leading to uncontrived 'organic' extensions in the detail. I discuss my interest in the implicit knowledge garnered through perception of colours and the connective fabric underlying surface appearances in nature. I argue that these observations are generative resources for painting, and emphasise the fact that our sensory and thinking bodies are also part of nature. - provided by Candidate.

霍秀霞.
"2010年9月".
"2010 nian 9 yue".
Thesis (M.F.A.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 36-37).
Abstracts in Chinese and English.
Huo Xiuxia.
Chapter 1. --- 引言----一場革命 --- p.7
Chapter 2. --- 呈現物本身----潛意識 --- p.8
Chapter 2.1 --- 潛意識的定義 --- p.8
Chapter 2.2 --- 佛洛伊德潛意識學說在超現實主義上的現實思考 --- p.10
Chapter 3. --- “潛意識的解放´ح在當代呈現的模式 --- p.14
Chapter 3.1 --- 拉康與克莉斯托娃 --- p.14
Chapter 3.2 --- 如何衍生成爲當代模式 --- p.18
Chapter 3.3 --- "我的創作""Automatic drawing´ح與泥塑空殼" --- p.24
Chapter 4. --- 結論
Chapter 5.1 --- 潛意識的工作 --- p.29
Chapter 5.2 --- 我的理想國 --- p.32
圖片來源 --- p.35
參考書目 --- p.36

In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was less elitist and more socially engaged. The new cultural model that was taking shape within the Kennedy Administration's vision of the New Frontier sought to remotivate a sense of "national purpose" within the United States to counter the nation's preoccupation with consumerism and affluence. The pragmatic liberal concept of culture sought to rework the relationship between work and play in order to promote a new relationship between individualism and civic virtue. The impetus to re-shape the boundaries between art and society under the New Frontier was a direct response to the political and military challenge posed by the Soviet Union in the late-1950s, especially after the launch of Sputnik in 1957, and the inability of the Eisenhower Administration to respond to the anxieties generated by the intense superpower rivalry. This international environment also exacerbated the ongoing tensions between Canada and the United States, culminating in the 1962 Cuban Missile Crisis . Canadian Prime Minister Diefenbaker delayed in responding to the U.S. alarm over the presence of Soviet medium range nuclear weapons in Cuba, and the political firestorm that followed this delay highlighted the frictions that had developed in the unequal bilateral relationship between the United States and Canada after World War Two. While the Cold War was approaching its ultimate showdown, Greenberg was proceeding to a geographical margin of North America — Saskatchewan — to participate in the Emma Lake Artists' Workshops. Ironically, while Greenberg was extolling the virtues of Canadian abstract painters such as Art McKay and Kenneth Lochhead, going so far as to argue that the Saskatchewan abstract painters were New York's only competition, Los Angeles was asserting itself as New York's cultural rival . As a consequence of the phenomenal post-war growth of the military - industrial complex in the American Southwest, a fierce rivalry was developing with the traditional bases of power in the Northeast. The Southwest, and Los Angeles in particular, was the major beneficiary of the accelerated defense spending resulting from the heightened tensions of the Cold War in the 1950s. Partially in response to a regional dispute over military appropriations, the economic and cultural elites of Southern California sought to counter the pragmatic liberal agenda of the Kennedy Administration by promoting Los Angeles as the Second City of American Art. Greenberg's "Post Painterly Abstraction" exhibition was intended to draw attention to the Los Angeles cultural renaissance and the maturing of the city's independent cultural identity. Thus, Greenberg's sojourn to Saskatchewan at the height of the Cold War and during a crucial period of his formulation of his theory of modernist painting after abstract expressionism provides the focus for an examination of the status of modernism in the early 1960s, especially in the context of U.S.-Canadian relations and interregional rivalry between the Northeast and the Southwest. This thesis seeks to explain the complex cultural and political dynamic of modernist painting in the United States in the Cold War years of 1957 to 1965 and the effect of this dynamic on the development of Canadian modernist painting.

Chau, Tsz Kin.
"December 2011."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references.
Abstracts in English and Chinese.
Introduction --- p.1
Chapter Chapter 1 --- Who's Pan Yuliang? Whose Pan Yuliang? --- p.7
Who's Pan Yuliang? --- p.7
Life and Art of Pan Yuliang: Existing Account --- p.12
Whose Pan Yuliang? --- p.22
"Summary of Existing Accounts: Biography, Oedipus complex and Narcissism" --- p.30
Chapter Chapter 2 --- Reconsidering Pan Yuliang --- p.33
Academic works in Mainland China and Taiwan since 2000 --- p.33
Theorizing the Woman Painter --- p.42
Background I: Modern Art in Republican China --- p.54
Background II: Paris Modernism --- p.60
Chapter Chapter 3 --- Expanding Biography into History --- p.63
Chapter Chapter 4 --- The Political Xiesheng and its Gender Politics --- p.82
"Pan Yuliang: from Shanghai (1928-32, 36-37) to Nanjing (1933-35)" --- p.83
The Mission ofNanjang: National Administering of Modernism --- p.86
Pan Yuliang and the Chinese Arts Association --- p.97
Xiesheng and a New Woman/painter Subject --- p.113
Conclusion: a Different Modern for a Woman Painter --- p.123
Chapter Chapter 5 --- Differencing the Modern and Women's Culture --- p.127
Theorizing Women's Culture --- p.130
Pan Yuliang and Women's Community --- p.134
Contextualizing Women's Community: Republican Modernity and Post-war
Pacifism --- p.137
Conclusion: Women's Art and Modernism --- p.145
Conclusion Rethinking Republican and Women's Art --- p.146
Appendix --- p.150
Glossary --- p.158
Graphical Materials --- p.165
Bibliography --- p.251

Beyond Picturing is practice led research aimed at determining whether horizontality can be deemed a medium in its own right, and further, whether it can establish a new set of conventions, enabling a cross-cultural dialogue between peoples of our region, particularly Aboriginal people and Maori and those of European heritage. I chart the course of horizontality across the art of the 20th century, identifying it as a medium for practice. My thesis examines examples in which horizontality as a methodology was a vehicle for meaning, based on the theories of structural linguistics and phenomenology. Furthermore, by acknowledging the axial shift, from the horizontal plane of process to the vertical plane of image, I discover a shared ground for cultural dialogue with painters of the central desert and the Kimberley.

The title of this thesis 'South African History Painting : Reinterpretation By Women Artists' indicated that the focus was to be on South African history painting. As the research progressed, however, it became apparent that the initial title did not encompass a broad enough spectrum. Therefore a more suitable title for this dissertation is 'A Visual Reinterpretation Of Aspects Of South African History By Women Artists: Penelope Siopis and Philippa Skotnes'. It is the intention of this dissertation to examine the way in which two contemporary South African women artists namely, Penelope Siopis (1953-) and Philippa Skotnes (1957) visually challenge in their paintings and prints respectively the conventional depictions of recorded South African history. Poststructuralism, deconstruction, new historicism and Postmodernism are among the theoretical currents upon which this research is based. It is from a Postmodern standpoint that selected works by Siopis and Skotnes will be analysed. The intention of this analysis is to examine their attempts to access the Postcolonial condition in South Africa through their visual presentations. The work of Siopis and Skotnes reflectects an interest in Postcoloniality. Furthernore, their visual imagery addresses questions of culture and power in South African visual representation. Works such as those created by Siopis and Skotnes can be seen as uncovering some of the contradictions within the process of decolonization. Nederveen, Pieterse and Parekh (1995 ) describe decolonization in the following way: 'Decolonization is a process of emancipation through mirroring, a mix of defiance and mimesis. Like colonialism itself, it is deeply preoccupied with boundaries - boundaries of territory and identity, borders of nation and state. (Nederveen, Pieterse and Parekh 1995: 11)' The focus in this dissertation is on the works of Siopis and Skotnes and their use of specific deconstructive methods to undermine prejudicial historical imagery and question established perceptions within South African history. In other words, the visual presentation of these two artists explores the boundaries or margins of established history. Both Siopis and Skotnes confront in visual terms the prejudicial representations of women and/or ethnic groups who have been subjugated by what they perceive as white, middle class, patriarchal history. The primary concern of the research is the visual imagery produced by these two artists and the effect of deconstruction on their respective art works. In the first chapter selected works from Siopis's 'History Painting' (1980s) series are to be analysed. In the second chapter the focus is on Skotnes's etchings in 'Sound From The Thinking Strings' (1993) exhibition. The investigation then moves to a project entitled 'Miscast' (1996). Skotnes was the curator of the 'Miscast' exhibition. It does not contain original art works by Skotnes. It is however an extension of the ideas which her prints embody and is therefore relevant to this dissertation.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 1996.

The theoretical part of this work refers to the presence and approach to the technical element in former and current Czech art. It closely inquires into this theme in the work of the outstanding contemporary Czech artists and it also mentions the graffiti phenomenon and its influence on the present artistic production. Furthermore it explains my intention and technical method in the course of creating the practical part of the work - a cycle of six thematic paintings.

Ce mémoire s’intéresse à la structure du recueil de poésie en prose Le Cornet à dés (1917) de Max Jacob. À la lecture de l’ensemble, on remarque qu’il est sans cesse question de choses ou d’évènements auxquels renvoient les diverses significations du mot tableau : œuvres picturales, descriptions imagées, cadres de fenêtre ou de porte, vieillards (vieux tableaux), tableaux vivants, subdivisions de pièces de théâtre ou encore tableaux d’école. Subdivisé en trois chapitres, ce travail s’attachera dans un premier temps au fait que tous ces homonymes sont traités, dans les poèmes, comme des peintures. Entre fixité et mouvement, les descriptions et les narrations rapprochent la littérature de l’art pictural, ce qui contribue à l’esthétique du doute caractéristique de l’œuvre de Max Jacob. Le deuxième chapitre s’intéresse aux procédés de reprise et à la manière dont ils permettent de faire des liens entre les poèmes. À partir des théories du mouvement et de la répétition, nous verrons comment les divers motifs forment, à la manière des dés, différentes combinaisons d’une pièce à l’autre. Inspiré par les peintres cubistes qui présentent simultanément tous les angles d’un même objet, l’auteur fait le tour du mot tableau. Dans le dernier chapitre, il ressort que la juxtaposition des poèmes donne accès à un surcroît de signification : certains éléments arbitraires comme des titres obscurs prennent soudainement sens. Une réflexion sur la lecture vient compléter ce travail puisque les nombreuses répétitions sont traitées dans la mémoire. Ce travail s’inscrit dans le champ des études sur le recueil et s’appuie principalement sur l’analyse de poèmes.
This dissertation treats the structure of Le Cornet à dés (1917), a collection of prose poems written by Max Jacob. Upon reading this collection, one notices that things and events referring to the different definitions of the word “tableau” are repeatedly employed : paintings, visual descriptions, window and door frames, elders (vieux tableaux), living pictures (tableaux vivants), theater scenes and also blackboards. This dissertation, divided into three chapters, starts by exploring how these homonyms are employed as paintings in the poems. In-between fixity and movement, the descriptions and the narrations bring literature closer to pictorial art. This contributes to the aesthetic of doubt found in Max Jacob’s written work. The second chapter analyzes different kinds of repetitions and the way they build links between the poems. By employing the theories of movement and repetition, this dissertation demonstrates how the various motifs, similarly to a pair of dice, form different combinations from one poem to another. Inspired by the cubist painters who simultaneously show all the angles of an object, Jacob thoroughly examines the word “tableau”. In the last chapter, it becomes evident that the juxtaposition of the poems gives access to additional significance: certain arbitrary elements, such as obscure titles, suddenly make sense. A reflection on the act of reading concludes this dissertation, since the numerous repetitions are stored in the reader’s memory. This work falls within the field of collection studies and mainly relies on poetry analysis.