Academic literature on the topic 'Photographie du nu'
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Journal articles on the topic "Photographie du nu"
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Challine, Éléonore, Colette Morel, and Paul-Louis Roubert. "Introduction. Photographie et modèles : le nu et ses histoires." Photographica, no. 6 (April 27, 2023): 11–15. http://dx.doi.org/10.4000/photographica.1098.
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Grivel, Charles. "Le Roman mis à nu par la photographie, même." Romantisme 29, no. 105 (1999): 145–55. http://dx.doi.org/10.3406/roman.1999.4357.
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Jewsiewicki, Bogumil. "Photographie, un objet du pouvoir." Anthropologie et Sociétés 40, no. 1 (May 18, 2016): 219–50. http://dx.doi.org/10.7202/1036378ar.
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Ce texte examine les effets sociaux des usages congolais de la photographie comme medium de production et de circulation de l’identité et du corps modernes. Au cours du XXe siècle, la représentation photographique témoigne de la nouvelle identité mise en circulation dans l’univers moderne. L’image « mécaniquement reproduite » constitue un artefact tenant lieu et place d’une personne moderne. Pour ce numéro spécial, l’intérêt du texte proposé ici est surtout comparatif. L’analyse d’un processus de représentation de soi par la photographie éclaire ce que fait à la représentation de soi la circulation sur Internet des images autoproduites. Certes, les deux situations sont opposées : dans le cas congolais l’image fixe est bidimensionnelle, sa production par un tiers et sa circulation sont commodifiées ; sur Internet l’image animée est autoproduite pour la circulation dans l’espace non commodifié. Néanmoins, dans un cas comme dans l’autre, il y a coïncidence entre le changement de médium et la volonté du sujet de mettre en circulation une autre représentation de soi, de contrôler l’image de son corps. Au Congo, l’identité moderne est en construction permanente, elle semble graviter autour de la personne plutôt que faire partie du corps. Socialement acceptée, la représentation du corps noir féminin « moderne » s’inscrit dans la mémoire culturelle de la domination, y compris au plan de l’érotisme. Par contre, lorsque des femmes s’emparent de l’image de leur corps pour défier le système social, le corps nu est représenté en tant que bien commodifié. Il est alors inscrit dans un mode de jouissance « moderne » et dans l’offre de satisfaction du désir masculin individuel contre l’accès aux réseaux de pouvoir. Faut-il y voir un désir de pouvoir ou une tentative de libération de la domination masculine ? La distinction est difficile à opérer. En effet, sur le sexe féminin exposé plane la mémoire d’une autre conception selon laquelle ce sexe est autant le lieu d’où vient la vie que le siège d’une puissance sorcière. Exposer/regarder le sexe féminin est ainsi un acte de pouvoir.
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Lutz, Philippe. "Un pionnier de la photographie de nu en Alsace : Hermann Ludwig von Jan (1851-1908) entre pictorialisme et naturisme." La Revue de la BNU, no. 26 (November 1, 2022): 88–99. http://dx.doi.org/10.4000/rbnu.6177.
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Thibierge, Stéphane. "Le paysage et les questions qu’il pose à la représentation." psychologie clinique, no. 54 (2022): 47–56. http://dx.doi.org/10.1051/psyc/202254047.
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Cet article interroge le concept de paysage et en quoi ce concept questionne les éléments de notre représentation. Il montre comment le paysage renvoie d’abord à la reconnaissance d’une forme par un sujet, mais aussi au-delà, et de façon plus complexe, à la dimension du réel et à celle de l’objet telles que la psychanalyse les articule. Le refoulement de ce réel est ce qui produit dans le paysage des éléments non reconnaissables mais plutôt déchiffrables, comme des lettres qui appellent une lecture. En d’autres termes les éléments du paysage et sa structure ne concernent pas seulement l’imaginaire, mais sont aussi de l’ordre du réel et du symbolique. Pour montrer cela, l’article s’appuie sur la théorie et la pratique de l’expérience psychanalytique, et sur ce qu’elle nous permet d’établir. Il évoque aussi quelques exemples en peinture et en photographie pouvant illustrer les points ici discutés. Enfin il aborde, en relation avec le paysage, les notions respectivement du nu et du visage.
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Faure-Conorton, Julien. "Le nu d’atelier dans l’œuvre photographique de Robert Demachy (1859-1936)." Histoire de l'art 66, no. 1 (2010): 95–106. http://dx.doi.org/10.3406/hista.2010.3316.
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Babic, Rade, Ankica Jelenkovic, Stankovic Babic, and Strahinja Babic. "Branislav Nusic and X-rays in the story “Roentgen’s Photography”." Medical review 70, no. 5-6 (2017): 183–88. http://dx.doi.org/10.2298/mpns1706183b.
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Introduction. Shortly after the discovery of X-rays, their practical application in the clinical practice became the object of interest of many non-medical individuals. One of them was the famous Serbian writer, Branislav Nusic. This paper presents the life and work of Branislav Nusic, as well as his article: ?Roentgen?s Photography? which was published in the journal ?Politics? (July 8, 1906; N? 892, p. 3), under the alias Ben Akiba, in the Cyrillic script. The life and work of Branislav Nusic. Alchiviadi Nu?a, later Branislav Nusic (1864 - 1938) was a great Serbian literate, playwright, journalist, photographer, politician, diplomat, member of the Serbian Royal Academy, President of the Association of Yugoslav Playwrights, manager of the theaters in Belgrade, Novi Sad, Skopje and Sarajevo, and a military volunteer in the Serbian - Bulgarian war (1885). ?Roentgen?s Photography?. The author wrote this text in his own way, the only way he could and knew, vividly and wittily. He knew about the great power and strength of X-ray radiation, and he wrote of his knowledge in this short story. Without Branislav Nusic, the history of Serbian radiology would be poorer for not seeing the X-rays by the eyes of an educated, intelligent and, above all, humorous writer. Conclusion. Branislav Nusic, alongside Nikola Tesla, Mihajlo Pupin Idvorski, Dr. Abraham Vinaver, and all past and present Serbian radiologists, has become an essential and memorable link in the chain of the history of the Serbian radiology.
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PAPAPOLYCHRONIOU, Efstathios. "Book review: Ἀ. ANAΓΝΩΣΤΟΥ, Τὰ δημόσια ἀρχεῖα στὴν ρωμαϊκὴ Αἴγυπτο, διδακτορική διατριβή, Σύλλογος προς διάδοσιν ὠφελίμων βιβλίων, Ἀθῆναι 2012,." BYZANTINA SYMMEIKTA 22 (December 12, 2012): 371. http://dx.doi.org/10.12681/byzsym.1090.
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<p style="text-align: justify; text-indent: 18pt" class="MsoNormal">BOOK REVIEW OF: Ἀ. Ἀναγνώστου, <em>Τὰ δημόσια ἀρχεῖα στὴν ρωμαϊκὴ Αἴγυπτο</em>, διδακτορική διατριβή, Σύλλογος προς διάδοσιν ὠφελίμων βιβλίων, Ἀθῆναι 2012, <span>pp</span>. <span>472 (3 maps and 4 photographs of papyri included)</span> Ι<span>SBN 978-960-8351-61-5</span></p>
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WANG, WEIHANG, and JUNXIA ZHANG. "On fourteen species of Euochin Prószyński, 2018 from China (Araneae: Salticidae: Euophryini)." Zootaxa 5297, no. 3 (June 2, 2023): 337–79. http://dx.doi.org/10.11646/zootaxa.5297.3.2.
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Twelve new species of the jumping spider genus Euochin Prószyński, 2018 from southern China are described: Euochin bethunei sp. nov. (♂ ♀), E. buziji sp. nov. (♂ ♀), E. dongpo sp. nov. (♂ ♀), E. extraculum sp. nov. (♂ ♀), E. lingyi sp. nov. (♂ ♀), E. nanjiabawa sp. nov. (♂ ♀), E. nu sp. nov. (♂ ♀), E. shenjun sp. nov. (♂ ♀), E. tianhe sp. nov. (♂ ♀), E. wanlessi sp. nov. (♂ ♀), E. yangmei sp. nov. (♂ ♀), E. zegangi sp. nov. (♂ ♀). Two new combinations are proposed: Euochin bamianshanensis (Liu, Wang & Peng, 2020) comb. nov. and Euochin longyangensis (Lei & Peng, 2012) comb. nov. (both transferred from Euophrys C. L. Koch, 1834, with redescription and revision of male and female pairing provided for the latter). Diagnostic illustrations and photographs are provided.
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Nash, Amanda, Maria Jarvis, Samira Aghlara-Fotovat, Sudip Mukherjee, Andrea Hernandez, Andrew Hecht, Peter Rios, et al. "212 Tumor adjacent cytokine factories for eradication of ovarian cancer tumor burden in mice through cytotoxic T-cell activation with safe and predictable dosing in non-human primates." Journal for ImmunoTherapy of Cancer 9, Suppl 2 (November 2021): A225. http://dx.doi.org/10.1136/jitc-2021-sitc2021.212.
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BackgroundPro-inflammatory cytokines have been approved by the FDA for the treatment of metastatic melanoma and renal carcinoma.1 2 However, effective cytokine therapy is limited by its short half-life in circulation and the severe adverse effects associated with high systemic exposure. 3 To overcome these limitations, we developed a clinically translatable localized cytokine delivery platform composed of polymer encapsulated epithelial cells that produce localized natural cytokines (IL2, IL7, IL10, or IL12) with temporal regulation.MethodsCytokine PK StudiesSupernatant from individual capsules were assayed at 1-, 2-, 4-, or 24-hours using ELISA (n=6). Mouse Studies: For IP tumor models of ID8-Fluc; 10x106 cells suspended in HBSS were injected in the IP space of female albino C57BL/6 or NU/NU Nude mice (n=4–6). Cytokine factories were implanted 7 days post tumor injection. Primate Studies: Increasing doses of cytokine factories were administered to cynomolgus macaques (n=3). Complete blood count and blood chemistry analysis were performed 28 days after administration. IVIS Imaging: Mice were injected in the IP space with D-luciferin (300 µg/mL, PerkinElmer). Photographs and luminescent images were acquired 10 minutes after injection. Flow Cytometry: All antibodies were commercially obtained and prepared the day of staining. Intracellular staining was performed using the FOXp3/Transcription Factor Staining Buffer Set (Cat. 00-5523-00, eBioscience) and the BD Cytofix/cytoperm fixation/permeabilization solution kit (Cat. 554714, BD Bioscience).ResultsTumor-adjacent local administration of these cytokine factories demonstrated predictable dose modulation with spatial and temporal control and provided ovarian cancer immunotherapy without systemic toxicities. Interestingly, the murine IL2 local concentration (IP space) was greater than 100x higher than the systemic concentration (blood) demonstrating the ability of the platform to deliver native cytokines in vivo and create a high local concentration of cytokines with limited peripheral exposure. A similar concentration differential was seen with IL7, IL10 and IL12. Treatment of peritoneal tumors using IL2 producing cytokine factories provided sustained eradication of peritoneal tumors in an ovarian cancer mouse model. Our data confirmed local increases in the activation (CD25+CD8+) and proliferation (Ki67+CD8+) of cytotoxic T cells within the IP space of cytokine factory treated mice. Significantly, this platform produced local and systemic T cell biomarker profiles that predict efficacy without toxicity in non-human primates.ConclusionsOur findings demonstrate the safety and efficacy of IL2 cytokine factories in preclinical animal models and provide rationale for future clinical testing for the treatment of metastatic peritoneal cancers in humans.ReferencesChoudhry H, Helmi N, Abdulaal WH, Zeyadi M, Zamzami MA, Wu W, Mahmoud MM, Warsi MK, Rasool M, Jamal MS. Prospects of IL-2 in cancer immunotherapy. Biomed Res Int 2018;(2018): 9056173.McDermott DF, Atkins MB. Interleukin-2 therapy of metastatic renal cell carcinoma--predictors of response. Semin Oncol 33(2006):583–587.Muhlradt PF, Opitz HG. Clearance of interleukin 2 from the blood of normal and T cell-depleted mice. Eur J Immunol 12(1982):983–985.Ethics ApprovalAll mouse experiments were approved by Rice University’s Institution Animal Care and Use Committee (IACUC). All cynomolgus macaque procedures and post-operative care were performed in accordance with the Guidelines for Care and Use of Laboratory Animals of the University of Illinois-Chicago (UIC) and approved by the Institutional Use and Animal Care Committee (IACUC) of UIC.
Dissertations / Theses on the topic "Photographie du nu"
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Lager, Sarah Alexandra. "Le nu métamorphosé." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010637.
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La métamorphose envisagée comme principe révélateur du nu laisse apparaître la réalité ambiguë de son existence plastique, la situant dans un entre-deux permanent oscillant entre accès et détournement, monstration et effacement. Corps photographique ou pictural, il devient signe d’une trace, d’une sensation par son incorporation au sein de livres photographiques. Ces recueils intimistes, dévoilant les identités multiples du corps féminin, proposent une intensification du désir par la mise en suspens d’une étreinte métaphorique. Lié à des récits mythologiques, poétiques et artistiques, le nu métamorphosé offre une entrée particulière où la mise en doute de son aspect présente sa suspension dans une immensité le dépassant. Etendu, morcelé, établit dans toute sa fragilité, il compose tout autant de paysages à arpenter qu’à contempler, où le toucher répond à l’excitation visuelle. L’infime apparence du corps sous-tend la peau, transperce le regard en se déployant dans un érotisme éblouissant. Par l’inscription de cette surface-peau, le nu métamorphosé est cette forme en dissolution qui survient dans un éclatement du corps et propose une véritable géographie épidermique, qui s’articule entre révélation de l’intimité de l’être et pluralité des sensationsTransformation considered as a revealing principle of the nude shows the ambiguous reality of its plastic existence, putting it an everlasting in-between place that wavers between access and diversion, showing and fading. Photographic or pictorial body, it becomes the sign of an impression, a feeling by its incorporation into photography books. These intimist collections, revealing the numerous identities of the feminine body, offer an intensification of the desire by having a figurative embrace to await. Being linked to mythological, poetical or artistic tales, the transformed nude presents a peculiar entry where questioning its aspect displays its suspension in a vastness that goes beyond it. Stetched, broken up, fully settled in its frailty, it forms landscapes to be stridden across just as well as gazed upon, where the sense of touch responds to the visual excitement. The minimal appearance of the body underlines the skin, enhances its grain, enshrouds it and gives life to the unspeakable. Burning, biting, the picture and especially one of the skin, pierces through the glance by unfolding in a dazzling eroticism. By the inscription on this skin-surface, the transformed nude is this form in dissolution which occurs thanks to the breaking of the body and which presents a real epidermal geography that is made of a mix between the disclosure of the intimacy of the self and the multitude of feelings
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Broquet, Amélie. ""Etudes d'après Nature" : le nu académique dans la photographie entre 1851 et 1885 /." Paris : Université de Paris IV, 1992. http://catalogue.bnf.fr/ark:/12148/cb358345561.
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Bouvier, Patrice. "Le corps nu cadré : la photographie, lieu de passage du regard /." Paris (45, bd. de Sébastopol, 75001) : P. Bouvier, 1993. http://catalogue.bnf.fr/ark:/12148/cb37649966s.
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Blin, Sandy. "La série des Distorsions de 1933 : Une parenthèse dans l’œuvre d’André Kertész ?" Thesis, Saint-Etienne, 2012. http://www.theses.fr/2012STET2160.
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Moins connues que Chez Mondrian, ou d’autres tirages devenus célèbres, les Distorsions de 1933 peuvent apparaître comme une série d’importance mineure dans l’œuvre d’André Kertész. La série de photographies qui la composent, vaste par le nombre, donne à voir des déclinaisons de nu qui n’ont plus rien d’académique, dans le traitement qu’en donne le photographe. Les corps, déformés grâce à un miroir courbe, surprennent de par leur modernité et leur caractère d’étrangeté, au regard du reste de la production de l’auteur. Constitue-t-elle pour autant une « parenthèse » dans son œuvre ? Il convient pour y répondre de s’interroger sur le contexte d’apparition de ces photographies et les raisons de leur création. Pour ce faire, une évaluation des composantes plastiques de chacune des images s’avère incontournable, avant que d’établir des liens et correspondances avec d’autres œuvres du photographe. L’angle choisi, qui favorise le rapport direct aux images en les plaçant au centre de la recherche, s’intéresse à la mise en œuvre des Distorsions à l’aune de la commande qui en suscita l’objectivation, tout en dévoilant comment ce cadre spécifique fut outrepassé. Le dispositif complexe employé pour la prise de vue est alors questionné, dans l’intention de mesurer l’importance et le rôle du miroir dans le dévoiement de l’image. A ce moment sont abordées, par le biais d’analyses à la fois formelles et esthétiques, les diverses typologies de corps, et leur rapport à l’espace dans l’image. Ce qui aboutit enfin à une vision d’ensemble, permettant de replacer ce corpus dans l’œuvre entier de Kertész, et de dégager les parentés intentionnelles dans sa logique de créationLess known than Chez Mondrian, or other famous prints, the Distortions of 1933 may appear as a series of minor importance in André Kertész’ work. The series of photographs, wide ranging in numbers, lets us see versions of nude, whose have nothing to do with academic, in the handling given by the photographer. Bodies, distorted by a curved mirror, surprising in their modernity and their strangeness, compared with the rest of the author production. Does it make up a "parenthesis" in his work? To respond to this question, we should wonder about the developing context of these photographs and also the reasons of their creation. An evaluation of visual aspects of each image is necessary, before establishing links and connections with other works made by the photographer. The angle chosen, which favors the direct images by placing them in the center of research focuses on the implementation of Distortions in the light of the order in which aroused objectification, while revealing how this specific framework was exceeded. The complex device used for the shooting is asked then, with the intention of measuring the importance and role of the mirror in the image’s corruption. At this time are addressed through analysis of both formal and aesthetic, the various types of bodies, and their relationship to space in the image. This leads finally to a vision, to put this body in the whole work of Kertész, and to identify the intentional similarities in his creation logic
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Ruffin, Nathalie. "De l'anonyme à l'innommable aux confins de l'imaginaire : pour une photographie de nu à la recherche de l'invisible /." Paris : Université de Paris-Sorbonne, 1994. http://catalogue.bnf.fr/ark:/12148/cb37065177n.
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Lecaplain, Manon. "« Des corps qu’on offre en spectacle à la foule » ? : Les revues du nu en France, 1902-1914." Thesis, Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLN003.
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Tombant « des hauteurs de l’art dans la boue de l’obscénité » : ainsi sont qualifiées par un membre d’une ligue de vertu en 1912 les revues du nu, premières revues françaises de modèles photographiques de nu (1902-1914). Catalogues de poses à destination des artistes, ces revues sont à l’origine d’un discours académique qui légitime la publication de nus photographiques. Cette justification pourtant leur est âprement contestée et, dans une Europe en quête de moralisation, les revues du nu enchaînent les accusations d’obscénité. Placées au coeur d’un débat entre art et immoralité, elles pâtissent d’une illégitimité culturelle qui leur restera fermement associée. Elles sont pourtant de véritables réflecteurs de mentalités. Recueils de nus majoritairement féminins, le discours qu’elles livrent par l’image comme par le texte relaie les constructions idéologiques qui dominent leur société tout en contribuant peut-être à les former : le langage y est celui d’une domination à la fois masculine, blanche et virile. Les corps sont posés, imposés et exposés par les revues du nu qui en font un produit de consommation charnel, le pilier d’une prostitution visuelle. Ce faisant, les revues du nu sont les actrices d’un érotisme de masse dont la tradition académique, sur laquelle elles appuyaient leur argument, se fait vernis légitimant. Objets d’art et de société, elles sont au coeur d’une histoire des corps et de la sexualité, d’une histoire des représentations et des mentalitésFalling “from the heights of art in the mud of obscenity”: this is how the revues du nu, the first French magazines of nude photographic models (1902-1914), are qualified in 1912 by a member of a morality league. Sold as catalogues of poses for artists, the revues du nu are at the origin of an academic discourse that legitimizes the publication of nude photography. However, this justification is bitterly contested in the era of a Europe in search of moralization, and these publications are therefore subject to accusations of obscenity. Placed at the heart of a debate between art and immorality, the subject suffers from a cultural illegitimacy that will remain, throughout time, associated to them. They are, however, true reflectors of the mentalities of the time. Being collections of predominantly female nudes, the discourse they deliver through both the images and text relays the ideological constructions that dominate their society, while, perhaps, contributing to the latter in shaping them: the language used is one of a masculine, white and virile man. Bodies are posed, imposed and exposed by the revues du nu, turning them into a carnal consumer product, the pillar of a visual prostitution. In doing so, the nude magazines are the actors of a mass eroticism whose academic tradition, on which they based their argument, reaffirms their legitimacy. Objects of art and of society, they are at the heart of a history of bodies and of sexuality, a history of representations and of mentalities
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Dreuilhe, Jean-François. "La photographie de Lucien Clergue : essai biographique sur les origines de l’oeuvre." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0167/document.
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Cette thèse propose une étude posant les bases et les origines de l’œuvre photographique de Lucien Clergue afin d’en permettre un meilleur positionnement dans l’histoire de la photographie. Une étude et des recherches qui n’avaient jamais été entreprises jusqu’à présent. Les éléments biographiques de la première partie ont été établis à l’aide de documents inédits issus de fonds privés, celui d’André Bernard particulièrement, mis à ma disposition pour étayer ce travail. Ils permettent de couvrir toute l’enfance de Lucien Clergue jusqu’à ces premières photographies. La seconde partie constitue le cœur de la thèse. En m’appuyant sur la production photographique et un très important fonds documentaire, j’établis de quelle manière et avec quels soutiens, particulièrement ceux de Pablo Picasso et Jean Cocteau, une œuvre se construit entre 1953 et 1965 et s’affirme comme esthétique du contre-jour. Ensuite, j’apporte une synthèse de l’évolution de l’œuvre, ses thèmes, ses déclinaisons, sa diffusion, notamment bibliophilique, et les actions transverses de Lucien Clergue ayant favorisé l’émergence de Manitas de Plata, et l’épanouissement de la photographie, en lien avec les Rencontres d’Arles. Les éléments avancés ont été confirmés par récolement ou recherches dans des documents contemporains des faits, ce qui a permis d’en rétablir le cours véritable, certains ayant été dénaturés par de multiples répétitions ou parfois par les qualités de conteur de Lucien Clergue. Cette thèse détermine également la réelle incidence des acteurs directs ou indirects ayant contribué à l’existence de cette œuvre photographique dont l’ossature repose sur une dramaturgie intrinsèqueThis thesis, presents the foudations and origines of the work in pohtography of Lucien Clergue in order to better relate it in the history of photography. An overall study and many researches that have never been done until now. The biographical elements used in the first part have never been published and come solely from private funds, particulary that of André Bernard, they have been available to me to corroborate my work. These elements allow to cover Lucien Clergue’s childhood up to his first photographs. The second part is the heart of the thesis, it is where, by relying on his photographic production and a very broad source base, I am able to establish inwhich manner and with what supports, particulary those of Pablo Picaso and Jean Cocteau, a life’s work is being built between 1953 and 1965 and emerges as the esthetic of the backlit. Then, I bring forward a synthesis of the evolution of the work, its principal recurring themes, its variations, its diffusion mostly bibliophily, as well as other various actions of Lucien Clergue which promoted the uprising of Manitas de Plata, and the blossoming of photography, relying on the « Rencontres Internationales de la photographie d’Arles ».All the elements put forward have been confirmed by retracing or research from contemporary documents of pure facts, which enabled to establish their real occurrence, as some had been relieved of their true nature by multiple repetitions or at times the narrative talent of Lucien Clergue. This thesis also determines the role that each actor played directly or indirectly and contribute to the existence of this photographic work with a blackbone that does rely intrinsically dramaturgy
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Maho, Jonathan. "Regards sur l'oeuvre de Robert Mapplethorpe : réception au-delà des Culture Wars (1970-2010)." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC052.
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Notre étude a pour objet la réception de l'oeuvre de l'artiste américain Robert Mapplethorpe (1946-1989). Par l'examen des expositions et des publications, elle permet de retranscrire l'évolution du discours critique. Ce dernier est considéré pour ses lacunes dans le contexte polémique des Culture Wars — conflit latent marqué par des batailles idéologiques opposant conservateurs et libéraux aux États-Unis. Dans une première partie, nous proposons de dé-contextualiser la réception de l'oeuvre en montrant que la censure, souvent comprise comme une conséquence de la controverse à laquelle l'artiste est associé, doit être considérée comme étant au centre de ses préoccupations et ce, dès les années 1970. Nous montrons notamment que le contenu de ses travaux et de ses expositions a été soumis à de multiples contraintes pendant toute sa carrière. Nous offrons ensuite dans la partie suivante la possibilité d'étudier la part de l'oeuvre la moins connue afin de faire émerger des principes clefs, négligés dans les études portées par une approche formaliste. Après avoir critiqué cette approche conventionnelle (interprétée ici comme le coeur du problème dans la réception de l'oeuvre), nous proposons dans la troisième partie des arguments inédits permettant de mettre en valeur le contenu des travaux. Notre méthode pluridisciplinaire permet plus généralement de valoriser l'étude des archives personnelles de l'artiste, peu exploitées jusqu'iciOur study takes as its object the reception of Robert Mapplethorpe's work. By examining exhibitions and publications, it retraces the evolution of the critical discourse. The latter is considered for its deficiencies with regards to the polemical context of the Culture Wars — a latent conflict characterized by a series of ideological, disputes between conservatives and liberals in the United States. In the first part, we work to decontextualize the reception of Mapplethorpe's work, showing that censorship, often seen as a consequence of the controversy with which the artist has been involved, must be understood, as of the 1970s, to have been a central theme of his work. We notably demonstrate that the content of his art and exhibitions has been shaped by multiple constraints during the entirety of his career. In the second part, we offer an opportunity to study the lesser-known of his works, revealing key principals that have been neglected in studies conducted with a formalist approach. After having criticized this conventional approach (understood here to be the main problem in the reception of his oeuvre), we propose, in a third part, novel arguments that make it possible to focus on the works' content. More generally, our transdisciplinary method makes it possible to value the artist's personal archives, which have been largely underexplored in existing research
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Camargo, Lucio Martins de 1968. "O nu e o olhar : uma iconologia do nu feminino na fotografia brasileira." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284320.
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Orientador: Stephane Remy Georges MalysseDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial
Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach
Mestrado
Mestre em Multimeios
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Saggese, Antonio José. "Imaginando a mulher: Pin-up, da chérette à playmate." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-29012009-150456/.
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Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações.Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.
Books on the topic "Photographie du nu"
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Newton, Helmut. Helmut Newton: Werke aus einer Bremer Privatsammlung = works from a private collection in Bremen. Germany: Museum Für Moderne Kunst, 2008.
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Newton, Helmut. Helmut Newton: A gun for hire, selection. Venezia: Marsilio, 2016.
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Nazarieff, Serge. Der Akt in der Photographie =: The Stereoscopic nude = Le nu stéréoscopique 1850-1930. Berlin: TACO, 1987.
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Cooper, Emmanuel. Fully exposed: The male nude in photography. London: Unwin Hyman, 1990.
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Cooper, Emmanuel. Fully exposed: The male nude in photography. London: Unwin Hyman, 1990.
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Zadeh, D. Zaman. Le nu en peinture et en photographie: Une étude contemporaine = The nude in painting and photography : a contemporary study. Montréal, Québec: Institut de promotion, 1989.
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Bouches-du-Rhône (France). Conseil général. Espace 13. Le nu photographié. [Arles]: Actes Sud, 2000.
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Michitaka, Ōta, ed. Nu e. Tōkyō: Sōkyūsha, 1997.
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Centre national de la photographie (France), ed. Le Nu. Paris: Centre national de la photographie, 1986.
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Esplugas, Antoni. El nu femení. Barcelona]: Generalitat de Catalunya, Departament de Cultura, 1998.
Find full textConference papers on the topic "Photographie du nu"
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Strava, Salomea, Cristian Tecu, and Mihai Onita. "" TEACH ME PHOTOGRAPHY, ROBOT." A CASE STUDY REGARDING VISUAL EDUCATION." In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-200.
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Visual arts-mediated education and training are inherent to the learning process irrespective of its traditional, digital, or hybrid formats. Photography entails creative functions while the image creator implicitly needs to be enabled through training to produce compositions that observe communication rules while simultaneously breaking wittingly the same rules. The current paper identifies quality criteria underlying highly rated photographs and features an artistic composition-based section. The main factors that influence the composition are the rule of thirds (division, point of interest), repetition (frequency, constant, resumption), symmetry (weight, variety, middle), HSL (Hue, Saturation, Brightness), empty space, use of background (subtle, main, flattening), balance (harmony, chromatic, unity), hierarchy (focus, eye direction). Many masterpieces are consciously eluding the above rules. The images are rioting against the mundanity and impersonal. The photographic composition escapes from the templates shown above, the images arouse the viewer, who needs a "key" to decipher them. This kind of visual approach has a semantic load that raises it above the fast-comprehension photo if the viewer makes the effort to accept and decipher it. The suggested artistic compositions are manually segmented into areas of interest (objects, lines, characters, etc.) accompanied by well-articulated interpretations, as they are perceived by a visual arts connoisseur. Furthermore, the authors describe sets of image data currently used in the automated assessment of image quality: IDEA, Painting-91, SCUT-FBP5500, Waterloo IAA, IAD, AVA, GPD, FACD, NU FOOD, CUHKPO, BAM, NNID. The paper is simultaneously a starting point for a subsequent set of high-quality photographs and an adequate learning resource for fields of study such as multimedia, arts, and social media.