Academic literature on the topic 'Pin dans l'art'
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Dissertations / Theses on the topic "Pin dans l'art"
Salamandra, Lisa. "Le corps écorché, dépecé, recomposé." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H322/document.
Full textThe research of this thesis focuses upon a series of my artwork in which I utilizeadvertisement photographs taken from local supermarket flyers that depict raw meat. I use these to construct female figures. The research responds to the inquiry: Why are we affected by the image of raw meat; and why are we even more so affected when the images of raw meat compose – or fuse with – the female figure? The origin of the effect this image has on the spectator is targeted as being found within our primitive past; stemming from our relationship with the animal flesh, and thus with the animal itself. We illustrate our profound ties to the animal, including surrounding acts which were an integral part of daily lives in primitive societies. We show how the myths, rites, and taboos, associated with the animal/human body are still at work today. The research supports different hypotheses: the edible image, the cannibal’s eye, the “scopique” impulse within an artwork (relative to the eye), and the criminality of the artist, a being’s cruelty, the unveiling of the body, violent images (of women) and their sublimation. We plead the necessity of this never-been-seen-before, polysemous, “true” image of the female figure whose significance spans from our primitive past to contemporary societies; as one of her emancipation
Huard, Micheline. "Les femmes-affiches de Jules Chéret." Master's thesis, Université Laval, 1989. http://hdl.handle.net/20.500.11794/33465.
Full textLi, Shiyan. "Contribution à l'étude de la pensée du vide dans l'art du XXème siècle : Occident-Chine." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10062.
Full textEastern spirituality is driven by thought about emptiness : that of Taoism and of Buddhism and their coming together in various syntheses. It is at the heart of the art of scholars. Contemporary Chinese artists have been influenced by Western modern art and, for the last thirty years, by contemporary art. Some of these artists have succeeded in using thought nourished by tradition in order to examine this new field. Far from being synonymous with absence, emptiness in these processes corresponds to an acceptance of a reality itself subordinated to the breathing of the world. Huang Yongping and Cai Guoqiang provide two examples of an approach in which the questions of identity and of dialogue with the West find its overcoming in a strategy disclaiming the dualism which usually prevails in this kind of debate. The Western world has been fascinated by the art and thought of the East for centuries. Emptiness has often been treated as nothingness in a negative sense (Hegel, Schopenhauer and Nietzsche). Other sources, however, have made us more open to the thought about emptiness. The inspiration of Zen Buddhism is only one example : recent publications by Jacquelynn Baas, Helen Westgeest and the authors gathered together by the American exhibition The Third Mind, all bear witness to its importance in the post-war period. The artists that I have selected here, Marcel Duchamp, Yves Klein and Robert Irwin, each have an original relationship with this corpus of images, concepts and experiences without ignoring the specifically Western contributions
Charissou, Céline. "Pino Pascali : catalogue raisonné (1935-1968)." Paris 1, 2008. http://www.theses.fr/2008PA010570.
Full textTabet, Jean. "Irradiation de molécules biologiques (bases de l'ADN et de l'ARN) par impact de protons dans le domaine de vitesse du pic de Bragg (20-150 keV/uma)." Phd thesis, Université Claude Bernard - Lyon I, 2007. http://tel.archives-ouvertes.fr/tel-00341551.
Full textLe dispositif expérimental développé a permis de séparer les contributions des deux processus d'ionisation de la molécule cible : l'ionisation directe et l'ionisation par capture électronique. Les spectres de masse correspondants, analysés événement par événement, ont été mesurés. Pour l'uracile, les rapports de branchement de ces deux processus ont été mesurés en fonction de la vitesse du projectile.
Nous avons développé la mesure de sections efficaces absolues pour le processus de capture électronique. Le taux de production d'atomes neutres par rapport au nombre de protons incidents a été mesuré pour les quatre molécules étudiées : uracile, cytosine, thymine et adénine, et ceci, pour différentes températures d'évaporation. Ce taux varie avec l'épaisseur de cible traversée par le faisceau de protons. Un dispositif de dépôt a été développé pour caractériser la densité moléculaire du jet gazeux des bases étudiées. L'étude théorique et expérimentale du débit total d'effusion et du profil du jet gazeux a permis de déduire l'épaisseur de cible traversée par le faisceau de protons. Ainsi, la section efficace absolue d'ionisation des quatre molécules biologiques isolées sous impact de protons d'énergie de 80 keV/uma a été déterminée.
Boisjoly, Richard. "La syrinx dans la peinture et la mosaïque du IIe s. av. J.-C. au IVe s. ap. J.-C." Master's thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/33466.
Full textMontréal Trigonix inc. 2018
Stentz, Barbara. "Les représentations de la douleur dans les arts graphiques en France au XVIIIè siècle." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG032.
Full textThis study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time
Qian, He. "La représentation occidentale de la cruauté dans l'art contemporain chinois." Mémoire, 2008. http://www.archipel.uqam.ca/1026/1/M10480.pdf.
Full textBooks on the topic "Pin dans l'art"
Bian, Wenjin. Bian Jingzhao hui hua ming pin. Shanghai Shi: Shanghai shu hua chu ban she, 2021.
Find full textWu, Changshuo. Wu Changshuo hui hua ming pin. Shanghai Shi: Shanghai shu hua chu ban she, 2020.
Find full textBéatrice, Quette, ed. De la Chine aux arts décoratifs: L'art chinois dans les collections du Musée des arts décoratifs = Bali zhuang shi yi shu bo wu guan Zhongguo yi shu zhen pin zhan. Paris: Arts décoratifs, 2014.
Find full textFoulkes, Barbara. Cómo estar 10 horas de pie. Mexico City: Gato Negro Ediciones, 2021.
Find full text[Exposition. Fontainebleau, Musée national du château de Fontainebleau. 2004-2005]. Le Pape et l'Empereur: La réception de Pie VII par Napoléon à Fontainebleau, 25-28 novembre 1804. Paris: Somogy, 2005.
Find full textChristophe, Beyeler, and Musée national du Château de Fontainebleau., eds. Le pape et l'empereur: La réception de Pie VII par Napoléon à Fontainebleau, 25-28 novembre 1804. Paris: Somogy, 2005.
Find full textDeutsches, Brotmuseum (Ulm Germany). Le Pain et la faim dans l'art du XXe siècle: Une exposition du Musée allemand du pain à Ulm = Brot und Not in der Kunst des 20. Jahrhunderts : eine Ausstellung des Deutschen Brotmuseums Ulm. Vevey [Switzerland]: Alimentarium, Musée de l'alimentation, 1986.
Find full textUri sonamu: Uri sam kwa yŏksa sok e saengsaenghi sum shwigo innŭn sonamu iyagi. Sŏul-si: Hyŏnamsa, 2020.
Find full textMadame de Pompadour: Painted Pink. Yale University Press, 2022.
Find full textLa douleur transcendée par les artistes: Douleur et représentation dans l'art. Paris: Glyphe, 2014.
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