Dissertations / Theses on the topic 'Picasso, Pablo, 1881-1973 – Exhibitions'
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Lecomte, Renée. "Etude topologique quantitative de la répartition des formes et des couleurs dans quelques tableaux de Picasso." Paris 1, 1990. http://www.theses.fr/1990PA010627.
Full textStatistical analysis of 29 Picasso's painting leads to some genaral conclusions : balance is based uppon colored shapes distribution ; barycenter of weighted shapes is at the center of the frame (weights are luminance and c. I. E. Coordinates). R. G. B. Componants have the same importance. All shapes are simple geometrical ones. Most of the lines are rectilinear ; curved lines have their curvature center located inside the frame, most of the time on the upper half part years going on, Picasso's choices lead to larger side of frame and simplest colors and shapes
Amrane, Malika. "Picasso et le mouvement." Paris 10, 2008. http://www.theses.fr/2008PA100135.
Full textThe expression of the movement in art is an old problem. Discussed do not cease feeding on this question. For one half-century, the artists have had the merit to have understood that the design of a static world little by little that of a dynamic world replaces. But if their merit is to have included/understood it, their glory comes from what they put all works about it to grant our conscience to reality. Painting and the sculpture are an invitation to discover the incredible richnesses of the visible world by calling upon our active participation. Because in the motionless forms, it is our glance which discovers the movements thanks to the significances that reveal certainly us the artist, but the attitude of the spectator remains fundamental in the perception of the visible reality of a work. By its longevity and its richness, the course of Pablo Picasso forms a unit with the XXème century. The present thesis is centered on the expression of the movement in its paintings, its sculptures and its ceramics, seeking to underline of them specificities and the factors of continuity through time. How an artist can return by a static painting or sculpture, works par excellence, an impression of movement? Works of Picasso, it releases an artistic energy, a well of creativity and the permanent and unconditional search for an artistic autonomy. And all these qualities are deeply impregnated of its personality. The plastic analyses as well as the historical and bibliographical data will enable us to clarify the means used by the Master to express the dynamism visually, thus nourishing its practice of art. Practical which leads us to question us on the particular contribution of the movement in art and on perception that the spectator has some
D'Alessandro, Eliana Angélica Péres [UNESP]. "Visualidade e história em Guernica." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/100274.
Full textEste trabalho tem como princípio básico estudar alguns aspectos da visualidade da obra Guernica, de Picasso, indicando uma relação de significados que vão compor a gramática do pensamento visual deste artista , descrita numa análise de alguns dos esboços para a confecção do mural, utilizando como base científica os estudos gestálticos de Arnheim. Ainda estão incluídas nesta abordagem algumas breves considerações sobre a atualidade da obra através da presença de sua imagem nos meios multimidiáticos nos últimos dois anos. Apesar de ter a visualidade da própria obra como foco central, os aspectos ligados a vida pessoal do artista e os acontecimentos históricos pelos quais passava a Europa na ocasião da pintura do mural serão abordados, por serem, em minha opinião, de suma importância, nos levando a ampliar a compreensão do universo simbólico e dos sentimentos que Picasso poderia estar vivenciando naquela época, contribuindo no entendimento por exemplo, dos possíveis motivos da documentação da obra em nove fotografias que foi feita por Dora Maar, sua amante na ocasião. Deste modo, esta dissertação oferece aos interessados na obra Guernica uma nova reflexão acerca de sua imagem e aos interessados na vida de Picasso uma visão da ligação entre sua vida e esta que foi uma das mais simbólicas do conjunto de sua obra.
Este trabajo tiene como principio básico estudiar algunos aspectos de la visualidad de la obra Guernica, de Picasso, indicando una relación de significados que van a componer la gramática del pensamiento visual de este artista, descrita en un análisis de algunos de los bocetos para la confección del mural, utilizando como base científica los estudios gestálticos de Arnheim. Están incluidas también en este abordaje algunas breves consideraciones sobre la actualidad de la obra a través de la presencia de su imagen en los medios multimediáticos en los últimos años. A pesar de tener la visualidad de la propia obra como foco central, los aspectos conectados a la vida personal del artista y los acontecimientos históricos por los cuáles pasaba Europa en la ocasión de la pintura del mural serán abordados , por ser, en mi opinión, de suma importancia, llevándonos a ampliar la comprensión del universo simbólico y de los sentimientos que Picasso podría estar vivenciando en aquella época, contribuyendo en la comprensión por ejemplo, de los posibles motivos de la documentación de la obra en nueve fotografías realizada por Dora Maar, su amante en el momento. De este modo, esta disertación ofrece a los interesados en la obra Guernica una nueva reflexión acerca de su imagen y a los interesados en la vida de Picasso una visión de la conexión entre su vida y la que fue una de las más simbólicas del conjunto de su obra.
Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.
Full textTwell, Mary Tudor. "The Influence of Flamenco on Selected Works of Picasso." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332484/.
Full textPrudente, Joana Vasconcellos. "O búfalo e o olhar avesso da imagem : Clarice Lispector e Pablo Picasso." reponame:Repositório Institucional da UnB, 2006. http://repositorio.unb.br/handle/10482/6354.
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A dissertação aborda a questão do olhar a partir do entrecruzamento do conto "O Búfalo", de Clarice Lispector, e algumas obras de Pablo Picasso e de Man Ray. O conto - defrontado às obras e analisado a luz de conceitos psicanalíticos de pulsão escópica (Freud e Lacan) e da teoria e crítica da arte - guia o trabalho, que é elaborado à maneira de uma rede de comentários. Neste texto, Lispector traça uma parábola da desmontagem do olhar estruturado perspectivamente e da ultrapassagem da questão da forma em oposição seja ao conteúdo, seja à matéria - que é paralela à desestruturação promovida pela arte moderna, aqui representada por Picasso e Man Ray. As obras destes se relacionam ao texto de duas maneiras: por analogia entre algumas de suas representações de touros e minotauros e o búfalo que dá nome ao conto; e por sua pertinência à discussão sobre o informe. Resulta desta amarração uma apreensão o olhar clivado pelo desejo e não mais unilateral: um olhar que, ao destacar-se daquele que vê, olha-o. A arte, tanto imagética, quanto textual, aparece como estratégia sobretudo de cegamento, que esconde ao invés de mostrar, revelando o que constitui o visível.
Tortell, David. "Continuous interruption : Picasso, Pound, and the structures of collage." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26342.
Full textPiacenza, Luciana Bicalho. "Os anos formativos de Picasso nas obras do MASP : Retrato de Suzanne Bloch, Toalete e o Atleta." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279113.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O trabalho propõe um estudo dos anos formativos do artista Pablo Picasso, presentes nas três obras pré-cubistas pertencentes ao MASP: Retrato de Suzanne Bloch, Toalete e O Atleta. O estudo da obra Retrato de Suzanne Bloch, de 1904, volta-se para os interesses de Picasso após o abandono do aprendizado acadêmico, sua convivência com o meio artístico de Barcelona e a crítica desse meio e do próprio Picasso à arte acadêmica e à sociedade industrial. O estudo dos anos de 1905 e 1906 e da obra Toalete centra-se na transformação pela qual passa a obra de Picasso com o contato com as obras fauvistas e com meios artísticos que reclamam o retorno, da arte e da cultura, à herança mediterrânea da França e da Catalunha. A análise da obra de Picasso a partir do outono de 1906 leva aos interesses do artista presentes na obra O Atleta, do verão de 1909, um outro momento de trabalho na Espanha, em Horta de San Juan. Verifica-se a transformação do estilo no contato com a arte ibérica primitiva e com a arte tribal, e o novo impulso da crítica de Picasso à arte tradicional e à sociedade burguesa. Enfoca-se ainda o interesse de Picasso pela arte de Cézanne no contato com a obra de Georges Braque, observando as particularidades das obras dos dois artistas no período anterior ao Cubismo
Abstract: A study about Pablo Picasso' s formative years in the three pre-cubists works belonged to the Museu de Arte de São Paulo Assis Chateaubriand (MASP): Retrato de Suzanne Bloch (portraite of Suzanne Bloch), Toalete (Toilette) and O Atleta (The Athlete). The study of the painting Retrato de Suzanne Bloch, 1904, turns to Picasso's interests after leaving the academic training, his familiarity with Barcelona' s artistic circle and their critic to the academic art and industrial society. The study ofthe years 1905 and 1906 and ofthe Toalete is centered on the transformation which Picasso' s works goes through, after his contact with thefauves' work and with artistic circles that claims the french and catalan mediterranean heritages in art and culture. The study of Picasso's work from the auturnn of 1906 until the moment that O Atleta was painted, in the summer of 1909, observes the changes of the style after the artist' s contact with iberian primitive art and tribal art, and Picasso' s critic to the traditional art and to the bourgeois society. Focus is given to Picasso's contact with Georges Braque and after that a new interest for Cezanne's art
Mestrado
Mestre em História
Silva, André Luiz Picolli da. "Eros, arte e desejo : compreensões sobre a obra de Pablo Picasso." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24574.
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De todas as construções humanas, a arte, talvez seja a que mais contribuiu para nos tornar humanos. No centro de toda cultura encontramos o impulso para criar objetos, interpretar cenas, produzir imagens, sons e movimentos, sendo os artistas, vistos como seres especiais, quase míticos. Um exemplo desse sentimento é o que encontramos em relação ao pintor espanhol Pablo Picasso (1881-1973), considerado como um dos principais artistas do período moderno e influenciador da estética contemporânea. Suas pinturas causaram um grande impacto na Europa e muita repercussão no resto do mundo, porém, a razão pela qual tantas pessoas ficaram fascinadas com as imagens por ele produzidas ainda é uma incógnita. Buscando compreender essa questão a partir de uma perspectiva psicanalítica, levanta-se a hipótese de que isso ocorreu devido a intensa manifestação de Eros sobre o artista, que produziu obras com fortes marcas dessa manifestação facilitando assim o processo de sublimação do público identificado com suas obras. Baseado nisso, o presente trabalho constitui-se em uma narrativa sobre a estética do desejo em Pablo Picasso, tendo por objetivo investigar a dinâmica inconsciente do artista por meio de sua produção, bem como, identificar de que modo sua obra se caracterizou também como um sintoma da cultura. Para tanto, foram realizadas observações de pinturas gravuras e desenhos do pintor que se encontram no acervo de museus da Espanha e do Brasil, bem como de obras que se encontram publicadas em literaturas específicas sobre a arte de Pablo Picasso. A partir disso, foram selecionadas algumas obras que, devido suas características, permitiam uma melhor observação da manifestação de Eros sobre o artista e, em seguida, foi realizada uma análise relacionando-se os elementos existentes nestas obras, a biografia do artista e conceitos da teoria psicanalítica. Posteriormente, visando uma melhor contextualização do fenômeno estudado, foram identificadas as principais características psicológicas da sociedade da época em que Picasso viveu, de modo a compreender em que medida ocorreram identificações entre a cultura e as produções do artista. Ao discutir os dados produzidos nesse processo constatou-se que a obra de Picasso apresentou uma grande mutabilidade ao longo do tempo devido as diversas formas de manifestação das pulsões do artista visando garantir a realização de desejos como: o desejo de liberdade, de querer mudar a realidade, de ser um objeto de amor e de querer controlar o outro. Tais manifestações, aliado ao alto grau de narcisismo encontrado na obra de Picasso, vão de encontro as principais características identificadas na sociedade em que que Picasso viveu, o que, dentro da narrativa produzida, confirma a ideia de que arte produzida por ele se configura em um sintoma da cultura. Por fim, concluiu-se o presente trabalho constatando que Picasso deu livre vazão as manifestações de Eros que sentia em si e, desse modo, construiu uma estética que reflete a realização de seus desejos narcisistas. Tal estética serviu como meio ideal para que indivíduos da sociedade moderna e contemporânea, identificados com sua obra, pudessem sublimar seus desejos com características semelhantes, razão pela qual entendemos, que tantas pessoas se fascinaram e ainda se fascinam pela obra de Pablo Picasso.
Of all human constructions, art may be the one that most contributed to make us human. At the center of every culture is the impulse to create objects, to interpret scenes, to produce images, sounds and movements, and the artists are seen as special beings, almost mythical. An example of this feeling is what we find in relation to the Spanish painter Pablo Picasso (1881-1973), considered as one of the main artists of the modern period and influential of contemporary aesthetics. His paintings have had a great impact on Europe and much repercussion in the rest of the world. However, the reason why so many people were fascinated with the images produced by him is still unknown. Seeking to understand this question from a psychoanalytical perspective, the hypothesis arises that this happened due to the intense manifestation of Eros on the artist, who produced works with strong marks of this manifestation facilitating the process of sublimation of the public identified with his works. Based on this, the present research constitutes a narrative about the aesthetics of the desire in Pablo Picasso, aiming to investigate the artist's unconscious dynamics through his production, as well as to identify in what way his work was also characterized as a symptom of the culture. To that end, observations were made of paintings of the painter's drawings and drawings found in the collection of museums in Spain and Brazil, as well as works that are published in specific literatures on the art of Pablo Picasso. From this, some works were selected which, due to their characteristics, allowed a better observation of the manifestation of Eros on the artist, and then an analysis was made relating the elements existing in these works, the artist's biography and psychoanalytic theory. Later, in order to better contextualize the studied phenomenon, the main psychological characteristics of the society of the time in which Picasso lived were identified, in order to understand to what extent identifications occurred between the culture and the artist 's productions. In discussing the data produced in this process it was found that the work of Picasso showed a great mutability over time due to the various forms of manifestation of the artist's drives in order to guarantee the fulfillment of desires such as: the desire for freedom, reality, of being an object of love and of wanting to control the other. These manifestations, together with the high degree of narcissism found in Picasso's work, go against the main characteristics identified in the society in which Picasso lived, which, within the narrative produced, confirms the idea that art produced by him is shaped by A symptom of culture. Finally, the present work was concluded, stating that Picasso gave free flow to the manifestations of Eros that he felt in himself and, in this way, constructed an aesthetic that reflects the fulfillment of his narcissistic desires. Such aesthetics served as an ideal means for individuals of modern and contemporary society, identified with their work, to sublimate their desires with similar characteristics, which is why we understand that so many people were fascinated and still fascinated by the work of Pablo Picasso.
Touret, Michel. "Les Ménines : un cas d'analyse par Picasso." Rennes 2, 1987. http://www.theses.fr/1987REN20027.
Full textPictorial analysis connects relations between one picture and another made according to it: it is an analysis of a painting made by a painter with pictorial means. This study of these relations concerns Picasso’s Meninas: he painted las Meninas according to Velasquez' ones and made an analysis of his own picture through fifteen-seven successive pictures. From this series, unified by his activity, relations give out and a law of production emerges. Picasso's working method is being discovered, so are the principles he put in play and the consequences of this practice; the analysis halts between two poles: a professional one which points at relations between paintings, indifferent to relations between the painter and his painting, - a person alone which insists on relations between them. As to make his analysis more objective, Picasso planed a multiform strategy: he fabricates allusions and references to other paintings and works, his proper ones or great painters’ ones. He produced large numbers of dedications, organized the story of his Meninas through exhibition, collection and legacy to a museum. This pictorial analysis warrants him by a practice and, beyond a practice, to get a good standing among his past or present peers in a mutual society of painters. This study, by a progressive reading of the pictures, conducts to an explanation of the relations the weave and call. So to do, we paintings, their basis, the moment of their elaboration and further, out of a serie, Picasso’s paintings and works; we examine too others artists' works and writings in order to explain Picasso’s general practice and more precisely the typical one he planed for his Meninas
Michaël, Androula. "Le temps et l'espace dans les écrits de Picasso." Paris 1, 1997. http://www.theses.fr/1997PA010594.
Full textThe focus of this thesis is the notion of time and space in Picasso's litterary writings, examined from the standpoint of the structure of the text and the manuscript, as well as from that of the thematic. Picasso often proceeds by aggregation, systematically multiplying his texts, and constantly "extending" them onton other supports, each such extension or ramification marking a new beginning. One of his preferred methods of creation is "repetition", source of the creative force whiche gives his work the stamp of originality. He does away pre-established grammatical and syntactical rules, thereby operating a "destruction of language" within language. To borrow Deleuze and Guattari's expression, we can qualify such a writing style as "rhizome". Its principle consists of expansion and variation on the one hand ; on the other, the refusal of unilinearity in favour of disontinuity. In general, Picasso's writing is linked to his preoccupations as a painter (particularly the cubist and "collage" periods), and his reflections on the nature and fonctionning of signs, the visible and readable. Space, in his treatment of the subject, presents itself as a completed universe, and which is reduced like an organic substance to an edible state. Between the various spaces exists both fluidity and a permutation of substances. The body - a space of incorporation of the external by the internal - partakes of an entire series of transformations, acquiring an animal or vegetal character to finish with. The present denotes triumphant temporality. The moment, through a "longitudinal intentionnality", spreads itself out to embrace a mutiplicity of events, thus condensing within the present every dimension of "lived experiece" (vecu). We witness a tension between cosmic time and "lived experience" which is expressed on one side by the omnipresence of calendar time, and on the other by an elimination of its referece points
McKinzey, Joan C. (Joan Connie). "Conversations with the Master: Picasso's Dialogues with Velazquez." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277908/.
Full textParvu, Ileana. "Débordements : les constructions cubistes de Picasso et l'art du XXe siècle." Paris, EHESS, 2002. http://www.theses.fr/2002EHES0062.
Full textChanges that occurred in XXth century art could be outlined by the departure from the realms of painting and sculpture. The structure that since the Renaissance until the end of the nineteenth century channelled the artistic production and maintained a certain order, starts to lose its relevance around 1910. The absence of a valid system of classification raises the question in regard to the identity of works which are no longer anchored in a specific realm. Provided that these do not belong either to painting nor to sculpture, it becomes difficult to name them. This problem is studied with the following case: three-dimensional objects made by Picasso between 1912 and 1915. If it is impossible to assign them a place in the existing structure and consequently to find an adequate term to designate them, at least one can attempt to describe them. The means of description and, more specifically, of formal analysis has helped not only to underscore and to indeed make visible the process of forming these objects, but has allowed equally to reveal in some respect how painting and sculpture transformed throughout the XXth century
Miraucourt, Julie. "Pablo Picasso face à la littérature française : de Michel Leiris à André Malraux." Dijon, 2008. http://www.theses.fr/2008DIJOL013.
Full textPablo Picasso maintained bonds of friendship with french literature, I. E with poets from the “Bateau-Lavoir” or members of surrealism. It is then very interesting to analyse – from the painter’s point of view – the nature of these friendships and how efficient they have been on Picasso’s life. Besides, they give the opportunity to understand interction between these two fields of expression. However, this study is based on the relationship between the painter and two french writers : Michel Leiris and André Malraux. It focusses on the notion of “genereation” both writers were borned the same year in Paris, then the three artists will be under the same influence and share points of interest
Collins, Anne Marie. "Changes in pictorial construction and types of representation which formed the basis of modern art." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1010579.
Full textMori, Fabiana Miano [UNESP]. "A construção da imagem em O Espelho in Primeira estórias de João Guimarães Rosa e em Las meninas de Pablo Picasso." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/91576.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O trabalho intitulado A construção da imagem em O Espelho in Primeiras Estórias de João Guimarães Rosa e em Las Meninas de Pablo Picasso foi desenvolvido com o objetivo de analisar semioticamente as obras O Espelho, conto presente na coletânea Primeiras Estórias de João Guimarães Rosa, e Las Meninas, tela de Pablo Picasso, cujo ponto de partida foi a obra de mesmo nome do artista barroco Diego Velázquez, e, diante dessa análise, teoricamente embasada, pontuar uma possível intersecção entre ambos os textos, já que pertencem claramente ao campo da interdiscursividade. Verificou-se que a linguagem plástica, usada por Pablo Picasso, pintor do século XX, distancia-se dos elementos plásticos barrocos seiscentistas, havendo, em ambos os textos, uma oposição clara aos princípios clássicos. O Ator-pintor, presente nas telas cubista e barroca, simboliza a própria Arte que, apesar do transcorrer do tempo físico, é atemporal. Com relação ao conto, o jogo incessante de palavras, rimas internas, entre outros elementos, pontua o barroquismo frásico rosiano e, além de demarcar o ponto central da coletânea de Primeiras Estórias, questiona a forma e a existência da imagem em suas diversas maneiras de entendê-la. Sendo o “espelho-tempo-imagem” o principal ponto de intersecção entre textoverbal e texto-visual nesta análise, é ele que desencadeia o despir das formas no conto rosiano e as anamorfoses no retrato de Picasso, que é o Outro em relação à obra velazquiana, questão proposta e trabalhada ao longo deste estudo. O elemento “espelho-tempo-imagem”, que propõe a discussão sobre diferentes relações, entre as quais o enunciado Arte e a enunciação pressuposta (enunciador e leitor/espectador) gera um caminho de duplo sentido, mobilizando, por sua vez, esta dissertação.
This paper entitled The construction of the image in João Guimarães Rosa’s O Espelho in Primeiras Estórias and in Pablo Picasso’s Las Meninas was developed with the purpose of semiotically analyzing the works O Espelho, a short story present in João Guimarães Rosa’s Primeiras Estórias and Pablo Picasso’s painting Las Meninas, whose starting point was the baroque artist Diego Velázquez’s painting that has the same name, and from this analysis, theoretically based, to point out a possible intersection between both texts, since they clearly belong to the field of interdiscursiveness. It was verified that the plastic language used by Pablo Picasso, a twentieth century painter, distances itself from the sixteenth century baroque plastic elements, and there is in both texts a clear opposition to the classical principles. The author-painter, present in the cubist and baroque paintings, symbolizes Art itself which, in spite of the elapse of physical time, is atemporal. In relation to the short story, the incessant game of words, internal rhymes and other elements punctuates Guimarães Rosa’s phrasal baroqueness and, besides demarcating the central point of the collection Primeiras Estórias, questions the form and existence of the image in the diverse ways it can be understood. Since the “mirror-time-image” is the main point of intersection between the verbal text and the visual text in this analysis, it is what initiates the undressing of the forms in Guimarães Rosa’s short story and the anamorphoses in Picasso’s painting, which is the Other in relation to Velasquez’s work – a point that is proposed and worked throughout this study. The element “mirror-time-image”, which proposes the discussion regarding different relations, among them the enunciate Art and the presupposed enunciation (enunciator and reader/spectator), generates a path of double sense which, in its turn, mobilizes this dissertation.
Khawanda, Batoul. "L'oeuvre céramique de Picasso : technique, édition, esthétique." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2029.
Full textThis thesis is about the ceramic work of Picasso realized between 1947 and 1971 in collaboration with the workshop Madoura in Vallauris. It is a detailed study of the reasons, approaches and principles that explain the choice of the artist to develop this practice. To expand access to his ceramic work, Picasso allows the reproduction of some of his creations. This venture is a social project that was born in the socio-political context of the post-war marked by joining the French Communist Party. This thesis evokes the issue of publishing in its various aspects by explaining why the artist chose this process and how far he developed it, on one hand by authorizing the edition of his ceramics in limited series, and on the other hand by making donations and bequests to different museum institutions. In the first part, a contextual and historical study shows how the first collaborations between artists andceramists that take place from the end of the 19th century to the first quarter of the 20th century. This is followed by a presentation of Picasso’s beginnings in the world of ceramics and his collaboration with Ramié in Vallauris. The second part shows in a precise way the techniques, the sources of inspiration and the themes used by Picasso to realize his ceramics. As for the third part, it first places the ceramic work in the political and social context of the post-war period, and then considers the possible links between its choice to make ceramics, its adherence to the PCF and the ambition to reach a wide audience. Finally, the ceramic work of Picasso is compared to that of other artists to show the different models of collaboration between artists and ceramists
El, Sokary Ibrahim. "L'illusion plastique et son intérêt au service de l'espace théâtral à travers les oeuvres de Picasso et Dali." Paris 8, 2001. http://www.theses.fr/2001PA082113.
Full textHarbec, Jacinthe 1955. "Parade : les influences cubistes sur la composition musicale d'Erik Satie." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63792.
Full textBoncompte, Coll Concepción. "Iconografía picassiana entre 1905-1907. Influencia de la pintura pompeyana." Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/2015.
Full textEl origen de esta tesis se encuentra en los cursos que impartí en la Universidad Ramon Llull (2005-2006). La doble faceta de pintora e historiadora del arte me permitió aportar a los alumnos la experiencia del pintor además de la del historiador. En las clases insistía en la independencia del lenguaje pictórico y estimulaba la búsqueda de todos los cuadros que están detrás de un cuadro. En este sentido, mostraba "La toilette" y el "Pastor con cesto" de Gósol junto a sus modelos pompeyanos. Mi discrepancia con la historiografía (vincula "La toilette" y "El harén" con el "Baño turco" de Ingres) así como la nueva luz que aportaban los parámetros interpretativos pompeyanos sobre el trabajo realizado por Picasso en esta época y la ausencia de investigaciones acerca de la influencia de la pintura pompeyana en la picassiana durante estos años, me decidieron a centrar mi tesis en esta temática.
Las lagunas y errores detectados en el estado de la cuestión, me aportaron la seguridad de que la superficialidad con la que se habían estudiado las obras de este ciclo había comportado una simplificación de las mismas y comprendí que podían superarse muchas de las ideas vertidas por la historiografía sobre esta época.
Fijación del período: el impacto causado por la venta de los frescos de Boscoreale en París (1903) liberó y canalizó los intereses de Picasso por la pintura pompeyana y el mundo panhelénico. Puede rastrearse la huella de la influencia pompeyana siguiendo las trazas del rojo cinabrio en las composiciones picassianas desde finales de 1904. Comienzo La investigación con "Desnudo sentado" (1905) donde, Picasso, reproduce el cromatismo pompeyano (tierras, rojizos), la apariencia del fresco y adapta la postura de Madelaine a un modelo pompeyano. Cierro la investigación con "Las señoritas" puesto que en este cuadro el artista culmina el diálogo mantenido desde 1905 con la pintura pompeyana y las religiones paganas.
El riguroso proceso analítico me ha conducido al interpretativo y este estricto método me ha facilitado respuesta a la pregunta inicial ¿De qué manera ha incidido la pintura pompeyana en la obra picassiana? Pudiendo resolver el enigma desde antes de Gósol hasta "Las señoritas".
Principales conclusiones:
1- Los modelos pompeyanos son vehículo para la representación de un proyecto filosófico-mágico-religioso y plástico: la búsqueda del desarrollo espiritual, el conocimiento y la inmortalidad según pautas de las antiguas religiones mistéricas.
2- Importancia del esoterismo y opio.
3- Rojos, rosas, tierras, ocres y azules proceden de la paleta pompeyana. La transición de la época azul a la rosa viene determinada por la paulatina introducción del rojo cinabrio pompeyano.
4- El retrato de Circe ("La mallorquina") inaugura las representaciones del viaje al Hades.
5- "Kouroi" y niñitos simbolizan el estado en el que se accede y se sale del Hades.
6- "La toilette" y "El harén" representan la iniciación de Fernande.
7- Introducción del concepto de "templo-burdel" de "diosa-prostituta".
8- Introducción del concepto de "bodegón votivo".
9- Eclosión de la influencia pompeyana en Gósol. Traducción del primitivismo ambiental. Fusión conceptual e iconográfica de modelos pompeyanos y románicos.
10- El románico proporciona a Picasso la máscara de la divinidad. Los retratos gosolanos de Fernande no son inexpresivos sino divinos: Ceres, Venus...
11- Desarrollo de un sistema personal de símbolos mediante objetos cotidianos. Fusión de liturgia pagana y cristiana.
12- La búsqueda del equilibrio por saltimbanquis y acróbatas es una metáfora del trabajo de equilibrio realizado por el iniciado.
13- Las señoritas es una gran teofanía pagano-cristiana en la que Picasso (artista y sacerdote) revela los misterios mediante los cuales lo mortales, como él, revivirán la experiencia de Baco y alcanzarán la unidad superior.
En "Las señoritas", Picasso replantea la antigua función sagrada del sexo. Posiblemente, el problema más grave con el que se ha enfrentado su interpretación ha sido la focalización del sexo como mecánica prostibularia. Esta asociación quizás no ha permitido a la crítica entender el sexo como lo exponía Picasso, como algo sagrado y salvaje al mismo tiempo, uniendo animalidad y misticismo en un único escenario.
"PICASSO'S ICONOGRAPHY BETWEEN 1905 AND 1907. THE INFLUENCE OF POMPEIAN PAINTING".
By Conxita Boncompte Coll.
TEXT:
The objective of the thesis is to demonstrate the influence of Pompeian painting on the work Picasso produced between 1905 and 1907, an influence that was supported by Picasso's milieu and his experience of Catalan Romanesque from his stay in Gósol.
The source of my thesis lies in courses I taught at the Ramon Llull University (2005-2006). My dual facets of painter and art historian meant that I could bring my students my experience as a painter as well as a historian. In my classes I insisted on the independence of all pictorial language by encouraging a search for all the pictures that lie behind a picture. I therefore showed "La Toilette" and "Shepherd with Basket" from Gósol alongside their Pompeian models. It was my discrepancy with historiography (which links "La Toilette" and "The Harem" with Ingres' "The Turkish Bath"), as well as the new light thrown by Pompeian interpretative parameters on Picasso's work of the period, and the absence of research on Pompeian painting and its influence on Picasso's work during these years, that decided me to centre my thesis on this issue.
Gaps and errors that I detected in the state of the art convinced me that the superficiality with which the works of this period had been studied had drawn a veil of banality over them, and I realised that many of the ideas employed by historiography on the period required a re-reading.
Establishing the period: the impact caused by the sale of the Boscoreale frescos in Paris (1903) awakened and shaped Picasso's interest in Pompeian painting and the Panhellenic world. This Pompeian influence can be tracked by following the traces of cinnabar red in Picasso's compositions from late 1904 onwards. The research begins with the "Seated Nude" (1905) where Picasso reproduces Pompeian chromatism (earths, reddish shades), the appearance of the fresco, and adapts "Madelaine'"s posture to the Pompeian model. It ends with the "Les Demoiselles d'Avignon", the picture with which the artist culminates his dialogue, maintained since 1905, with Pompeian painting and the pagan religions.
This rigour of the analytical process has led the process of interpretation, and the strict method followed has allowed me to find
answers to the questions I set myself at the outset - about the influence of Pompeian painting on Picasso's work - and resolve the enigma from before Gósol to the "Les Demoiselles".
Key findings:
1- Pompeian models are a vehicle for presenting a philosophical-magic-religious and plastic project: the search for spiritual development, knowledge and immortality based on the ancient mysteric religions.
2- The importance of esotericism and opium.
3- Reds, pinks, earths, ochres and blues come from the Pompeian palette. The transition from the blue to the pink period was marked by the gradual introduction of Pompeian cinnabar red.
4- The portrait of Circe ("La Majorquine") is the first in a series of representations of the journey to Hades.
5- "Kouroi" and small children symbolise the state in which we arrive at and depart from Hades.
6- "La Toilette" and "The Harem" represent Fernande's initiation.
7- The introduction of the concepts of "temple-brothel" and "goddess-whore".
8- The introduction of the concept of "votive still-life".
9- The emergence of the Pompeian influence in Gósol. The translation of environmental primitivism. The conceptual and iconographic fusion of Pompeian and Romanesque models.
10- The Romanesque gave Picasso the mask of divinity. The Gósol portraits of Fernande are not inexpressive but divine: Ceres, Venus, etc.
11- The development of a personal system of symbols from everyday objects. The fusion of pagan and Christian liturgy.
12- The search of tumblers and acrobats for balance is a metaphor for the work on balance carried out by the initiated.
13- "Les Demoiselle"s is a great pagan-Christian theophany in which Picasso (artist and priest) reveals the mysteries through which mortals like him can relive the experience of Bacchus and attain a higher unity.
In "Les Demoiselles", Picasso returns to the ancient sacred function of sex. Possibly the most serious problem in its interpretation has entailed the focalisation of sex as a mechanism of the brothel. This association may have hindered critics from understanding sex as Picasso portrayed it, as something sacred but wild, uniting animality and mysticism in the same scenario.
Asalia, Nour. "La fragilité dans la sculpture contemporaine : réflexions théoriques et expérimentations artistiques à partir de Marcel Duchamp et Pablo Picasso." Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080076.
Full textFragility is an important notion in contemporary sculpture. This thesis examines its aspects in two of the most influential artists in the history of art in the 20th century: Pablo Picasso and Marcel Duchamp. In this sense, we question the factors that have favored the advent of fragility in their practices: historical context, popular traditions revisited by modernity, changes in the way we look at materials, innovative artistic practices, constraints and conservation techniques. Our research of course addresses the question of the fragility/vanity of the human being that we deal with in the historical and philosophical fields - through its aesthetic, philosophical and spiritual dimensions - but in the fields of the sacred and of science from of body and memory as we observe them manifesting themselves in the artistic field. To show the significance of what seems to us to fall under the concept of fragility, as we have previously defined it with Duchamp and Picasso and the forms it takes, we rely on their works in glass and paper. Our study analyzes these works both through the concept of fragility that unfolds there and in terms of their materiality. Furthermore, the use of fragile materials leads artists to favor certain techniques whose objective is to protect and ensure the conservation of their work: such a process results in the tight, even sometimes inextricable knotting of their artistic approach and their practice. The modes of conservation of the fragile work therefore also constitute one of the axes of our thesis. ___Finally, we present our own artistic practice, nourished by our approach to fragility and, of course, by all the works and references that we will have studied throughout our research
Butler, Augustin de. "Revoir Renoir." Paris 8, 2006. http://www.theses.fr/2006PA082719.
Full textWe think we know Renoir. We’re mistaken. Renoir is badly viewed, both literally and figuratively. Badly viewed because fundamental aspects of his life, his work, and his trajectory remain either badly interpreted, or overlooked. Badly viewed because absurd charges are regularly brought against him. Renewing our views on Renoir today implies revising a number of judgments and received ideas. We need to revisit his position – more complex than some believe – regarding impressionism, and to reconsider his relationship – more decisive than some admit – with Cézanne. We need to linger on Renoir’s final period, which he himself considered to be the culmination of his career, and yet which has been systematically neglected by recent commentators. And last, but not least, we need to take the full measure of Renoir’s influence, previously greatly underestimated, on two giants of the twentieth century : Matisse and Picasso
Matsui, Hiromi. "L'architectonique cubiste du corps : les schémas anatomiques chez Picasso et Raymond Duchamp-Villon, 1907-1918." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100038.
Full textThis study focuses on the analyses of the representations of the human body in the works of Pablo Picasso and Raymond Duchamp-Villon during their cubist periods. In order to shed some new light on the representation of the body in the cubist works of these two artists, the importance and the modality of the artistic anatomy is examined. This includes branches of science related not only to the anatomy (specifically osteology and myology), but also to the study of human proportion to the physiology, physiognomy, ethnology, anthropology, and morphology. Developing a new interpretation of Cubist images that is linked both with anatomical science and classicism in art historical context, this research corresponds to a morphological study of Cubism in multiple disciplines, such as aesthetics and epistemology. In particular, this study's aim is to consider two different forms of architectonic representation of the cubist body, starting from the same scientific knowledge. If research of Picasso is concerned mostly with the structure of the human body, Duchamp-Villon's seeks the dynamism and vitality of the body: far from axiomatizing scientific knowledge, the two artists rectify it in their own way to discover their unique expressions. Through this, the method by which the cubist pattern is formed in the oscillation between art and science is clarified, between: intuition and intelligence; subjectivity and the objectivity; and organic metamorphosis of images and the schematization of the mechanical body
Perron, Katia. "La structure spatiale des oeuvres cubistes de Picasso et Braque de 1910 et 1911." Master's thesis, Université Laval, 1992. http://hdl.handle.net/20.500.11794/33496.
Full textMontréal Trigonix inc. 2018
Lavest-Bonnard, Audrey. "Proposition pour une analyse de la création chez Schönberg et Picasso : musique, peinture, psychanalyse." Paris 4, 2008. http://www.theses.fr/2008PA040198.
Full textThis thesis proposes to compare music and painting through an analysis of the creative act as expressed by Schönberg and Picasso. Our hypotheses are based on the description of the three phases of creativity by the psychologist Anton Ehrenzweig in his work The hidden order of art and on the functioning of the dream work as set forth in Sigmund Freud’s The interpretation of dreams. We thus first compare how Schönberg and Picasso's creativity evolved - notably the Cubist and serial dodecaphonic movements - according to the extent of the first and secondary elaborations coming into play in the creative psychic mechanisms. Secondly, we show the impact that these primary and secondary processes can have on the materials chosen to express their artistic intentions, these processes varying throughout the creative life. The dream work mechanisms allow new light to be shed on the organisation of the internal structure of works of modern art, while circumventing controversial attempts to establish equivalence between the arts
Vallès, Eduard 1971. "La influència de l’art català sobre Picasso a través de dues generacions: Santiago Rusiñol i Isidre Nonell com a paradigmes (1897-1904)." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/670359.
Full textThis thesis considers the influence of Catalan art on Picasso during the period when he lived in Catalonia. This subject is explored not in the abstract but through two particular artists, Santiago Rusiñol and Isidre Nonell, chosen because they were the most representative artists of the two generations with which Picasso mixed. Rusiñol belonged to the old Modernista generation and was its leading light. Isidre Nonell was not a leader per se, but he was the most iconic artist of the following generation, which broke with the postulates of Rusiñol’s circle, meaning that Picasso shifted from the earlier to the later generation. The reason for this choice of two particular artists is that they are ‘paradigms’, not just because they encompass many of the registers of Catalan art of their time, but because in some instances they even led them. The research focuses on the various possible levels of influence these artists exercised, from the direct inspiration they gave to the more elliptical stimulus provided by the works and discourses they represented. As a result, the field of study widens to encompass other artists who crossed paths by chance with Rusiñol or Nonell and who, in one way or another, influenced Picasso’s work. Above all, this research has been carried out on the basis of the formal and iconographic method, inasmuch as works by the three artists have been compared. This has revealed new influences and, in consequence, new readings of Picasso’s work in his youth. Nevertheless, the influences on Picasso are in almost all instances multidirectional in nature and, when they occur, they are not always explicit, since Picasso normally avoided direct copying and inclined towards more subtle forms of appropriation, as is also confirmed in this thesis. While Picasso’s link with Catalan art during his years in Barcelona is well known, the impact of Rusiñol or Nonell on his work has not been analysed in any great depth to date. Even though this thesis draws a comparison between Picasso and these two particular artists, the ultimate aim is to formulate a single discourse combining two bodies of theory. In short, the goal is to demonstrate that the influence of Catalan art on Picasso was not just a reality but that it was transmitted through its two luminaries and was of a hitherto unknown strength.
Esta tesis trata sobre la influencia que ejerció el arte catalán sobre Picasso durante los años en que este artista residió en Catalunya. Esta influencia no se plantea en abstracto sino que se vehicula a través de dos artistas concretos, Santiago Rusiñol e Isidro Nonell. La elección se debe a que fueron los artistas más representativos de las dos generaciones con las que se relacionó Picasso. Santiago Rusiñol pertenecía a la vieja generación modernista, de la que era su principal referente. Isidre Nonell, sin ser un líder en sentido estricto, sería el artista más emblemático de la siguiente generación, que suponía una ruptura respecto a los postulados de la generación que representaba Rusiñol, de manera que Picasso basculó de la primera hacia la segunda. El motivo de escoger dos artistas concretos es debido a que ostentan la condición de “paradigmas”, no sólo porque entre ambos abarcan buena parte de los registros del arte catalán de su tiempo, sino porque en algunos casos incluso los lideran. La investigación se ha centrado en los diversos niveles de influencia posibles, desde el ejercido por los propios artistas de forma directa, hasta el que, de manera elípitica, procede de las propuestas o discursos que ambos representaban. Ello provocará que el campo de estudio se ensanche, por porosidad, hacia otros artistas que eventualmente interseccionaron con Rusiñol o Nonell, y que de una manera u otra influyeron sobre la obra picassiana. Esta investigación se ha realizado, sobretodo, en base al método formal y al iconográfico, en la medida que se han comparado obras de los tres artistas. Ello ha permitido descubrir nuevas influencias y, en consecuencia, nuevas lecturas de la obra de juventud de Picasso. No obstante, las influencias sobre Picasso tienen casi siempre una naturaleza multidireccional y, cuando se producen, no siempre son explícitas pues normalmente Picasso elude la copia directa y tiende hacia formas de apropiación más sutiles, que también consignamos en esta tesis. Si bien es conocida la vinculación de Picasso con el arte catalán durante sus años en Barcelona, a dia de hoy no se había analizado con tanta profundidad la incidencia de dos personalidades como Rusiñol o Nonell sobre la obra de Picasso. A pesar de que esta tesis establece una comparativa entre Picasso y dos artistas concretos, el objectivo final consiste en elaborar un discurso unitario por agregación de dos cuerpos teóricos. En definitiva, demostrar que la influencia del arte catalán sobre Picasso no tan solo fue una realidad sino que se vehiculó a través de sus principales representantes y en un grado de intensidad hasta hoy desconocido.
Coelho, Julie. "Apreciação e sublimação: ensaio sobre arte e psicanálise." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/15870.
Full textConselho Nacional de Desenvolvimento Científico e Tecnológico
Which phenomenon is related to the experience that occurs between spectator and work of art? This is the question that will outline the following hypothesis: sublimation makes this experience possible by moving the spectator and eliciting one s desire to create. The idea that the work of art puts the spectator in an unsettled state that demands meaning will be explained by Freud s experience with Moses s statue, André Green s experience with the London Cartoon and Ada Morgenstern s experience with Perseus and Medusa. These authors will lead the readers into thinking sublimation as being closely related to artistic production. Moreover, this concept will be analyzed based on the psychoanalytical theory, going from Freud to other authors such as Laplanche, Loewald and Lacan, who also contributed to the development of the subject. The appreciation of Picasso s Guernica will be used in order to articulate appreciation and sublimation. This painting was responsible for a great psychic mobilization, which inspired reflection and an investigation about this state and its meanings. As an active part of the process, the writer s/spectator s associations will guide the research. In the moment the spectator is touched or surprised by the work of art, one s network of meanings is struck and one seeks significance to the cause of this surprise. The work of art, therefore, provokes ones desire to create
O que está atrelado à experiência que ocorre entre a obra e o espectador? Essa questão irá delinear a hipótese de que a sublimação propicia essa experiência ao mobilizar o espectador e suscitar nele o desejo de criar. A partir da experiência de Freud diante da estátua de Moisés, André Green diante do Cartão de Londres e de Ada Morgenstern diante de Perseu e Medusa, será desenvolvida a idéia de que a obra põe o espectador em um estado desconcertante que demanda um sentido. Esses autores nos farão pensar na noção de sublimação, a qual se encontra muito relacionada à produção artística. O conceito de sublimação será trabalhado à luz da teoria psicanalítica, partindo de Freud e buscando autores que contribuíram para o desenvolvimento dessa noção, entre estes, Laplanche, Loewald e Lacan. Para articular a apreciação e a sublimação, tomaremos a apreciação do quadro Guernica, de Picasso, que suscitou em mim uma enorme mobilização psíquica e motivou uma reflexão, uma análise acerca desse estado e suas conseqüentes significações. O que guia o desenvolvimento da pesquisa são as associações da escritora/espectadora implicada em todo o processo. Ao se ver impactado pela obra, o espectador é atingido na sua rede de significações e busca dar um sentido a isso que o surpreende. A obra, portanto, provoca nele o desejo de criar
Pospelova, Youlia. "Le Balagantchik de Marie Vassilieff : Marie Vassilieff (1884-1957) et son oeuvre dans le contexte de l’art contemporain." Paris 4, 2007. http://www.theses.fr/2007PA040201.
Full textThe settlement of Montparnace by artists and poets in the beginning of the 20 th centrury coincided by time with the new “wave” of Russian talents : Mark Shagal, Sergey Sharshun, Haim Sutin, Maria Vasilyeva – Marie Vassilieff. The author regards the gifted Russian artist Marie Vassilieff, who lived and worked at Monparnace hundred years ago (her works were presented at the exhibition Ecole de Paris that took place in winter 2000/2001 at the Paris Museum of Modern Art). The former became the matriarch of Monparnace clan when she was 25. The history of her life occupies 620 pages of the “thèse”, containing the events of that time artistic bohemia, meetings that became legendary, and also the establishment of Academia Marie Vassilieff that attracted such students as Picasso, Brak, Leger, Modiliani, Sutin, Tsadkin… While preparing the “thèse”, it became obvious the Vassilieff was inequitably “forsaken” : it was difficult to find her works ; fortunately, there is collector Claude Bernés in Paris who has the biggest part of the heritage. (Claude Bernés appeared very farseeing and although there is no museum of Marie Vassilieff, there exists the collection of her works in the small apartement on rue Pierre Senar where the cult of person of artist is thriving. ) Vasilieva’s life was as dramatic as was the life of any woman who chose art and freedom
Vilar, Pierre. "Michel Leiris : vestiges des images et prestige de la peinture." Paris 8, 1995. http://www.theses.fr/1995PA081005.
Full textThis work is meant to make a contribution to investigation on relationship between writing and painting in xxth century. Michel leiris (1901-1990), aside from being one of the most original creators among french surrealists, devoted an important part of his work to painting criticism. Before analyzing on andre masson, joan miro, alberto giacometti, pablo picasso, wifredo lam and francis bacon - the poet, autobiographer, ethnographist and critic having been for a long time their close friend - , our aim has been to show the recurrent presence of a certain number of imaginary structures in his ethnographic, poetical, autobiographical and fiction work, to study how these structures were protected into his appreciation and poetics on painting. Concentration on images of blood and red colour, lingering assertion of a perspective angle of vision, numerous poetic puns around name and surname, references to translation and foreign artists original languages, are here studied as elements of a writing on vision, visual, and visibility
Czujack, Corinna. "An economic analysis of price behaviour in the market for paintings and prints." Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212155.
Full textTsakiroglou, Maria. "Présence d'Ovide dans les lettres et les arts en France au XXème siècle." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20068.
Full textOvid's work was and always will be an inexhaustible source of inspiration for French writers and artists and Europeans generally. Since the Middle ages and the years of the late romanticism, poets, painters and musicians constantly refer to ideas from Ovid's "Metamorphoses" and the "Ars Amatoria". .
Sessa, Clarimma. "From Mock-ups to Artworks: Development and Application of Specific Analytical Methodologies." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/285332.
Full textEl objetivo principal de la tesis es la evaluación de técnicas micro- y no destructivas para la caracterización material de obras de Patrimonio. Pinturas al óleo, fotografías antiguas y un objeto metálicos de gran formato se analizaron como representantes de tres importantes categorías artísticas. En el Capítulo 1 se presenta una introducción sobre los aspectos materiales y estructurales de las obras investigadas. El Capítulo 2 está dedicado a la determinación del límite de detección y reproducibilidad de Microscopia Electrónica de Rastreo (Scanning electron microscopy with Energy Dispersive X-Ray analysis, SEM-EDS), Espectroscopia de infrarrojo en transmisión (Fourier transform infrared spectroscopy, micro- FTIR) y en modalidad remota una sonda de fibras ópticas (mid infrared fiberoptics reflectance spectroscopy midIR-FORS). En el caso específico del midIR-FORS se ha demostrado la capacidad de métodos multivariantes para la modelización de los espectros obtenidos con tal técnica, y la creación de mapas de distribución de pigmentos a lo largo de la superficie de pinturas al óleo. El Capítulo 3 se centra en el estudio de la paleta usada por Pablo Ruiz Picasso durante sus primeros años de producción artística mediante el análisis no-destructivo de seis retratos conservados en el Museo Picasso de Barcelona. En el Capítulo 4 se propone un método analítico optimizado para la detección de azufre en fotografías antiguas (silver print image) mediante Fluorescencia de Rayos-X (X-Ray Fluorescence XRF) y un procedimiento para la recuperación de imágenes que manifiesten fenómenos de descoloración. Finalmente en el Capítulo 5 se presenta el estudio de la optimización de un procedimiento analítico para el análisis de muestras metálicas y aplicación a muestras reales extraídas del Pulpito de San Lorenzo de Florencia. La investigación de estas tres categorías artísticas ha demostrado la importancia de optimizar procedimientos de análisis específicos para incrementar el conocimiento de las obras teniendo en cuenta su heterogeneidad, características físico-químicas y respetando su integridad física.
Santos, Elis Denise Lélis dos. "Uma Leitura de Mão Dupla: Leituras e Influências na Poesia de João Cabral de Melo Neto." http://www.teses.ufc.br:, 2008. http://www.repositorio.ufc.br/handle/riufc/3436.
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The goal of our work is to investigate the influences reading from the poet Joao Cabral de Melo Neto and possible overruns through the conquest of a unique style. Contextualizaremos the production of literary and intellectual author, working with the "field", "context" and "paratopia" based on readings of The rules of art (1996), Pierre Bourdieu and The context of literary work (2001), Dominique Maingueneau, respectively. Abordaremos the influences received by the poet in the literature and other fields such as visual arts, architecture, mathematics, philosophy and the different places where resided and the travel he has done. Use the categories "influence" and "overrun", systematized by the American literary critic Harold Bloom works in The anguish of influence (1991) and A map of desleitura (2003). So with the idea of overcoming, we want to examine The work Education by stone (1966) which marks the poetry of John Cabral a more mature by their experiences with the language. First, we will see the context of production in prose and verse of the author. Then mapeamos their influences, and a third time, investigate how the poet surpassed, building an individual and own poetic.
O objetivo de nosso trabalho é investigar as influências de leitura do poeta João Cabral de Melo Neto e a possível superação através da conquista de um estilo próprio. Contextualizaremos a produção literária e intelectual do autor, trabalhando com as categorias de “campo”, “contexto” e “paratopia”, com base nas leituras de As regras da arte (1996), de Pierre Bourdieu e O contexto da obra literária (2001), de Dominique Maingueneau, respectivamente. Abordaremos as influências recebidas pelo poeta na literatura e de outros campos como o das artes plásticas, da arquitetura, da matemática, da filosofia e dos diferentes lugares em que residiu e das viagens que realizou. Utilizaremos as categorias “influência” e “superação”, sistematizadas pelo crítico literário americano Harold Bloom nas obras A angústia da influência (1991) e Um mapa da desleitura (2003). Assim, com a idéia de superação, pretendemos analisar a obra A educação pela pedra (1966) que marca a poética de um João Cabral mais amadurecido por suas experiências com a linguagem. Primeiro, veremos o contexto da produção em prosa e verso do autor. Em seguida, mapearemos suas influências e, em um terceiro momento, investigaremos como o poeta as superou , construindo uma poética própria e individual.
Bazile, Sandrine. "Le saltimbanque dans l'art et la littérature de 1850 à nos jours." Bordeaux 3, 2000. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2000BOR30025.
Full textGonçalves, Patrícia 1994. "Reprodutibilidade e construção na escultura Modernista." Master's thesis, 2018. http://hdl.handle.net/10451/33837.
Full textMartins, Gina 1984. "Gravura - Pintura." Master's thesis, 2011. http://hdl.handle.net/10451/3146.
Full textContém: 1 DVD com uma entrevista a Gil Teixeira Lopes, apenas consultável na Biblioteca da FBAUL - Cota CDA 80
This dissertation means to implicate the defense of the chemistry between Painting and Engraving. Also presenting, are some aspects of the two artistic expressions coming together, by focusing the differences and familiarities that result in the final interpretation. It also relates to the common paradox in which an engraving is not considered an art piece, and to the interdisciplinary aspect of creating art. To support the dissertation and all aspects involving the overlap between Painting and Engraving, I present my personal work, to give way for a pondering of what really is the coming together of the two artistic expressions- Painting and Engraving
Gantes, Manuel. "Desenho nos séculos XX e XXI:imagem, espaço e tempo." Doctoral thesis, 2013. http://hdl.handle.net/10451/8949.
Full textEsta tese teórico-prática debruça-se sobre transformações ocorridas no campo do desenho ao longo do século XX e início do XXI, com importantes implicações para o presente desta área central da prática artística. Desde a prática bidimensional do desenho até à conquista efectiva do espaço e do tempo, estudam-se obras que se entendem como paradigmáticas nesse percurso. Num primeiro momento a tese incide sobre aspectos das obras de Pablo Picasso, Alberto Giacometti e Pierre Bonnard, que contribuíram para renovar e manter a prática bidimensional do desenho; posteriormente são centrais as contribuições de Jackson Pollock, Franz Kline e Barnett Newman para a ampliação do âmbito do desenho. Além da representação, em direcção ao espaço e ao tempo mais vastos; as obras paradigmáticas de Robert Smithson e de James Turrell, respectivamente “Spiral Jetty” e “Roden Crater”, são reveladoras da conquista efectiva para o desenho de espaço e de tempo, entendidas estas variáveis num sentido concreto. Sem esquecer a diversidade de processos do desenho, a parte prática insiste na pertinência da manutenção da bidimensionalidade dentro do campo expandido do desenho.
This teoretical and practical thesis is concerned with the transformations wich took place in the field of drawing during the past XX century and the beginning of the current century. Relating to these transformations paradigmatic works of art are studied, starting with bidimensionality towards the conquest of time and space. Important to the renovation of image in drawing, examples of the oeuvre of Pablo Picasso, Alberto Giacometti and Pierre Bonnard are considered. The works of Jackson Pollock, Franz Kline and Barnett Newman are central to the expansion of the field of drawing away from the figure towards space and time. “Spiral Jetty” and “Roden Crater”, seminal works from Robert Smithson and James Turrell, reveal true space and time as part of the new elements of drawing. Without forgetting the huge diversity of existing drawing practices, the practical side of the thesis insists on the relevance of maintaining a focus on image-making through drawing.
Carvalho, Ana Leonor Borges de. "Um circulo na terra : desenhos do circo." Master's thesis, 2021. http://hdl.handle.net/10451/50079.
Full textNtali, Konstantina. "Face as landscape / landscape as face : from line to sculptural form and back." Master's thesis, 2021. http://hdl.handle.net/10451/51696.
Full textSerafim, Kalinka. "Autorretrato e autorrepresentação: variações sobre um tema." Master's thesis, 2020. http://hdl.handle.net/10451/41596.
Full textOliveira, Pedro Miguel Domingos Jorge de. "A obra de Cruzeiro Seixas na perspectiva da colagem contemporânea portuguesa." Doctoral thesis, 2015. http://hdl.handle.net/10451/26274.
Full textO tema da tese de doutoramento, constituiu o estudo da colagem no contexto da arte contemporânea nacional, focado em alguns artistas de referência, durante a segunda metade do séc. XX. Importa sublinhar o processo de colagem, como um importante veículo da linguagem do desenho e não como um mero suporte de trabalho, complementar ao desenho e (ou) à pintura. Esperamos acima de tudo, contribuir para um melhor conhecimento da evolução dos processos de colagem, inserido nos vários movimentos artísticos vigentes e em particular a partir do Surrealismo. Sendo a colagem, parte intregrante do desenho, constituiu um procedimento artístico em que se compoêm pedaços de papel liso, estampado, pintado ou impresso (jornais, revistas), embalagens, cartão, tecido ou pequenos objectos sobre um suporte geralmente plano. A colagem constituiu no ínicio do séc. XX, um importante veículo de expressão no seio dos grandes círculos artísticos europeus, centrado especialmente na cidade de Paris. Por isso, é essencial, antes de entrarmos no tema da tese, salientar o pioneirismo de Pablo Picasso e George Braque na criação dos primeiros Papiers Collés. Na esfera nacional é imprescindível salientar o papel de Amadeo de Souza-Cardoso, como artista de referência no panorama português, no que concerne à introdução das primeiras colagens no movimento cubista. No desenvolvimento da tese, importa focar o estudo da colagem na segunda metade do séc. XX, a partir do movimento surrealista português, dos seus principais intervenientes e das obras mais relevantes para a evolução do desenho e da colagem. Neste período, importa referenciar a importância do grupo KWY no contexto da arte contemporânea nacional e do impulso que alguns dos seus membros introduziram no desenvolvimento da colagem. Definimos como case study de estudo, um artista de referência nacional (Artur Manuel Rodrigues do Cruzeiro Seixas), cuja obra, (particularmente no domínio no desenho e da colagem), seja marcante no contexto da arte contemporânea nacional. Ao estudarmos a sua longa carreira, principalmente ao nível do desenho, retemos um amplo conjunto de ideias e de obras inéditas reveladas a partir dos seus scrapbooks. Sendo a análise desta informação ainda muito escassa, mesmo por parte da FCM, torna-se imperativo um estudo mais aprofundado acerca deste tema e mais concretamente dos registos ao nível do desenho e colagem.
The main objective of the Phd project is to focus the whole study of collage as an essential element of artistic expression. Its also important to clarify that collage its not just an artistic work tool for drawing or paint, but an important comunication support and to focus on the introduction of collage in contemporary Portuguese art and all its evolution over the second half of the twentieth century. Contribute to the study of the history of portuguese contemporary art, focusing the study on the theme of collage in Portugal, alongside the drawing. However, as collage is considered being part of drawing, is an artistic procedure (completely apart) in putting together pieces of plain paper, stamped, painted or printed (newspapers, packaging), cardboard, cloth or small objects on a plan support. Since the beginning of the twentieth century, collage was an important vehicle of expression in the European vanguard movements. Before entering the theme it self its important to study the pioneering role of Picasso and Braque in the early twentieth century and the environment in portuguese artistic context, highlighting the role of Amadeo de Souza-Cardoso, with reference to the introduction of the Cubist collages movement in Portugal and it´s transition to painting. After the introductory chapter, it´s important to focus the study of collage in the second half of the twentieth century, beginning with the birth of the portuguese Surrealist movement, their main artists and the more significant works for the evolution of portuguese contemporary collage, either by it´s pioneering in the materials and techniques used, or by it´s conceptual composition. To assess and substantiate this study, it is important to make a brief overview on the international references. Make a case study of collage to a main portuguese artist (Artur Rodrigues do Cruzeiro Seixas), which has been distinguished by the use of collage techniques in an exceptional way. By analyzing and studying his long artistic career in drawing and collage, we retain several ideas, artistic concepts and new information about his work, which proved to be particularly relevant in the whole collage movement and in Portuguese contemporary art. Set as case study by investigating the develop of collage by a national reference artist (Master Cruzeiro Seixas), which has been distinguished by the use of collage techniques in designing exceptional way. By analyzing and studying his long artistic career by drawing and collage level, we retain a set important ideas and artistic concepts reflected by the revelation of a set of unpublished works from his scrapbooks, which proved to be particularly relevant in his work and in the Portugal contemporary art.
Monteiro, Maria Sarreira Ferrão. "Esboço: a procura da forma no design." Master's thesis, 2019. http://hdl.handle.net/10451/40699.
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