Dissertations / Theses on the topic 'Salon (1881 : Paris, France)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 21 dissertations / theses for your research on the topic 'Salon (1881 : Paris, France).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Noël, Denise. "Les Femmes peintres au salon : Paris, 1863-1889." Paris 7, 1997. http://www.theses.fr/1997PA070140.
Full textThis doctoral dissertation, combining investigation and synthesis, attaches itself to the socio-cultural conditions underlying the artistic activity of the women painters exhibiting at the salon, in Paris, between 1863 and 1889. It gives special emphasis on the amateur / professional dilemma with which the women artists will constantly be composing, and that may have influenced their artistic choices. This dissertation consists of 3 volumes. The first introductory part describes the problematic from a historical and theoretical side. This is followed by a study of artistic life in the feminine : training in studios ; private life and its choices, in particular the possibilities offered by networks of friends and associations ; the hazards of a career, with the pressure resulting from the need of production, with its successes and its failures, sometimes hampered by other activities, yet always turned towards professional integration and acquiring more autonomy ; the works of the salon and how the critics responded. The research work is based on archives, and on numerous testimonies of french and foreign women artists, gathered from personal diaries, memoirs and correspondence. The second part is a file of 264 plates. These reproductions often unpublished, come from the illustrated catalogues of the salon, from goupil albums, and from the photographic archives "Adolphe Braun". In final, the third part lists in alphabetic order of the artists the works by women, put on exhibition in the "peinture" section of the salon between 1863 and 1889. You will find there, besides the title of the works, the place of birth of the artists, their address, and the name of their professors
Orgeval, Domitille d'. "Le Salon des Réalités Nouvelles : les années décisives : de ses origines (1939) à son avènement (1946-1948)." Paris 4, 2007. http://www.theses.fr/2007PA040213.
Full textCreated by the art lover Frédo Sidès in july 1946, the « Salon des Réalités Nouvelles » was first directed by Auguste Herbin and Félix Del Marle. In the line from Abstraction-Creation, it was meant to set up annual « concrete art, non figurative or abstract art » exhibitions. From 1946 to 1948, the Salon, which was held in the Palais des Beaux Arts in Paris, offered a unique visibility for abstract art, with a very open policy and a will for international participation (the 1948 Salon was attended by more than 350 exhibitors representing 17 nations). Consulting the archives of the SRN, quite forgotten until now, offers the opportunity to understand how the Salon worked, and learn about its diffusion and recognition policy. This consultation also proves that the Salon was the conclusion of a long gestation which started in the 1930’s, an dis directly coneected to the exposition « Réalités Nouvelles » held in the Charpentier gallery by Frédo Sidès and Yvanohé Rambosson in 1939
Weirich, Armelle. "Berta Zuckerkandl (1864 -1945) salonnière, journaliste et critique d'art, entre Vienne et Paris (1871-1918)." Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL037.
Full textAt the end of the 19th and beginning of the 20th century, Berta Zuckerkandl (1864-1945), Austrian salonnière and journalist, engaged actively in artistic, cultural and political exchanges between France and the Austro-Hungarian Empire. Being on familiar terms with Georges Clemenceau gave her the opportunity to exchange ideas with artists and intellectuals in Paris, including Rodin, Carriere, Raffaelli, and Geffroy. Her salon in Vienna gathered some of the most pioneering personalities of the Wiener Moderne...- Bahr, Klimt, Wagner, Mahler...- and thus formed the centre of a vast social network within Europe. Being a spokeswoman of the Vienna Secession, Zuckerkandl established herself as one of the most active contemporary art critics. She guided artists and introduced the public into modern art by drawing on French initiatives to influence the art's development. The present study thus aims at highlighting her role in the dynamic artistic exchange between Vienna and Paris. It will first present Zuckerkandl's biography in order to draw attention to her privileged position in the exchange of the French and Austrian cultures. Secondly, it will show her impact on artistic Austrian groups and provide a detailed analysis of a corpus of selected documents dealing with modern art. It will finally discuss her interventions in favour of French artists and the reception of their works in Austria by highlighting the artistic, cultural and political aims pursued by Zuckerkandl, who was determined to preserve the Austrian culture despite the war and the collapse of the Austro-Hungarian Empire
Knels, Eva Maria. "Le Salon et la scène artistique à Paris sous Napoléon I. Politique artistique – Stratégies d’artistes – Échos internationaux." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040065.
Full textThis doctoral thesis examines the Salons of living artists under the reign of Napoleon I, which are primarily known for the prominent role they played in the context of cultural politics of that time. After 1799, the Salon rapidly became an important instrument of art and cultural politics used by the ruling government to symbolically legitimise and support the political system. Given the major changes to the exhibition in these years, artists had also had to adapt to the new political and administrative structures whilst, at the same time, reacting to new artistic trends in order to stand up to the strong competition at the Salon. The exhibition's success in these years is not only reflected by the rising numbers of exhibiting artists and visitors. Also its wide-ranging coverage in the media, such as newspaper articles, letters, travelogues and graphic anthologies, is further proof of the exhibition's relevance and reach, sometimes even beyond national frontiers. Indeed, the exhibition's close locality to the famous Musée Napoléon, with its large collection of master pieces confiscated from European collections by the French armies, added further attention paid by European travellers to the Salon and the French contemporary art on display there. The aim of this doctoral thesis is to analyse the organisation of the exhibition, the range of participating artists as well as the international response it created whilst taking into consideration the complex transformation of art and the French art scene at the beginning of 19th century. By doing so, the dissertation focuses on the reciprocal relationship between art politics, artistic production and their reception
Bouillo, Eva-Frédérique. "Le salon de 1827." Paris 10, 2004. http://www.theses.fr/2004PA100106.
Full textThe 1827 Salon marked a decisive turning in the " bataille romantique " as the conflict which had opposed the " old school " painters and the " new school " ones progressively faded away after the exhibition. The present study has emphasized the particularity of the 1827 Salon as regards to the officiaIs' actions and the critics' statements which helped rornanticism develop despite a lot of remaining opposition. In my work, l assessed the importance of the " new school " in the Salon, analysed the way it developped there and its progress since 1824 and l offered a definition of what rornanticism was in 1827. L fust studied the Salon at the institutional level, enhancing the tolerance of the public institutions and Forbin's role in giving reco~tion to the new trend. L also showed the place the romantics took in the public sponsorship, thus confIrIning how well disposed the officiaIs were towards them. L finally insisted on the way the Salon was spoken of by the critics, proving that the " bataille romantique " was at the very heart of a debate in which defining " Rornanticism " and " Romantics " was uneasy -given the importance and complexity of the movement since 1824
Laisney, Vincent. "L'arsenal romantique : le salon de charles nodier. 1824-1834." Paris 3, 1999. http://www.theses.fr/1999PA030138.
Full textKawachi, Akiko. "Les artistes japonais à Paris durant les années 1920 : à travers le Salon de la Société des Artistes Français, le Salon de la Société Nationale des Beaux-Arts, le Salon d’Automne, le Salon de la Société des Artistes Indépendants et le Salon des Tuileries." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040188.
Full textDuring the end of the 19th century and the beginning of the 20th century, not many Japanese artists settled in Paris. However, after the First World War, starting from 1920, a large number of Japanese artists arrived in France. In total two hundred and eight Japanese artists appeared in Parisian Salons during the decade between 1920 and 1929. Most of these artists choose Montparnasse district as their residence. In Paris those days, amongst artists who worked on oil painting called « yô-ga » we can distinguish three movements. The first circulated around Fujita Tsuguharu, a renowned artist who associated the Western painting and the traditional Japanese art. The second gathered a certain number of young artists, such as Saeki Yuzo, who were attracted by the Western painting and the modern painting of Montparnasse. The third movement was of an academic nature: as Kuroda Seiki did, artists were following the teaching of Paris Academies. Other artists choose the route of a more independent art, following the examples of Tanaka Yasushi, Hasegawa Kiyoshi or Oka Shikanosuke, but the number of these artists remains limited, same as those who practiced the technique of Japanese painting, i.e. « Nihon-ga », and also those who practiced sculpture, engraving, lacquer painting, and hangings. The result of going through the data of the documentation centres and photography funds in Japan and in France proves the importance of the presence of Japanese artists on the artistic scenes in Paris during the 1920’s and allows us to comprehend the motives and creations of these artists
Péloille, Évelyne. "L'imprimerie parisienne de 1881 à 1914, aspects des mutations dans l'organisation de la production." Paris 1, 1994. http://www.theses.fr/1994PA010517.
Full textThe object of this thesis is to show that, because of its ambivalence, the printing production has a share in the society development, which interactively operates on the demand and its multiplication and underlies the industrial activity expansion of the printing. On the one hand, printed matter is an industrial product which integrates in the flow of goods to satisfy social needs; on the other hand, it proceeds from circumstances since it reflects it, supports it, lives from it and generates it at once, because printed matter has a specific nature compared to others goods: it has a content. With the increase of social and conjecture needs, because of the political, economical, social and cultural context specially productive, there is a considerable expansion of the printing production which necessitates to abolish, with the 29th july 1881 law, the restrictive frame set up by Napoleon 1 st between 1810 and 1812, on the printing subject. New techniques are brought into operation in order to satisfy, in its variety, the market needs. The result for the industrial environment is the establishment of new relations with the financial capital and the setting up of new production ratios. The development of production forces generates transfers such as the production process changes in form and nature, creating the emergence and the statement of contradictions of capitalist types
Cazes, Laurent. "L'Europe des arts : la participation des peintres étrangers au Salon, Paris 1852-1900." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010548.
Full textFrom the origin of World Fairs until the creation of the European secessions, the Paris Salon played a fairly significant role in the careers of hundreds of foreign painters. Avoiding aesthetic biases, the corpus of works, artists and texts studied traces the presence and the reception of foreign painting in the Paris Salon, from 1852 to 1900. The political and administrative history of the institution reveals the evolution of foreign painter status: from almost nonexistent at the beginning of the Second Empire, to a major issue at the end of the century, linked to the creation of the Société Nationale des beaux-arts. Risky and competitive, the Salon experience was a considerable challenge for all artists, both symbolic and commercial. Parisian careers of foreign painters, from their training studio to their exposition in the Salon, are less interpretable than for their French counterparts as an opposition between official and independent sphere; Fine Art system appears as wide open to the world and to the whole artistic field. The international dimension of Paris exhibitions had a profound impact on the evolution and the definition of French art who quickly built a hegemonic pattern on it. Unlike the nationalist partitioning of world fairs, the melting of the Salon is an image of the unity and diversity of European creative forces. The national expression is part of a community of approaches and expressions, and Arts of Europe cannot be categorized into national schools nor the style categories of the modernist tradition
Laisney, Vincent. "L'Arsenal romantique : le salon de Charles Nodier, 1824-1834 /." Paris : H. Champion, 2002. http://catalogue.bnf.fr/ark:/12148/cb388102416.
Full textGuégan, Catherine. "Critique et théorie de l'art à la fin de l'Ancien Régime : Le Salon de 1787." Paris 4, 2001. http://www.theses.fr/2001PA040022.
Full textJuchet, Aurore. "Les costumes de scène et leurs dessinateurs à Paris au temps du Romantisme 1825-1850 : le triomphe du costume historique." Paris 10, 2008. http://www.theses.fr/2008PA100164.
Full textAt the begining of the nineteenth century, it was quite normal to see actors dressed with costumes from different style and period playing together in a same play. Nevertheless, since the middle of the eighteenth century, began a reform in order to impose the right costume to the stage. But until 1825-1850 there was not great result. With the romantics at theater and opera, the historic costumes created by artists based archeological and historical documents became essential. The real life with décor and costume invaded the stage. Romantic dramas and french “Grand Opéra” were full of pitoresque and local colour. Writers like Victor Hugo or Alexandre Dumas asked their friend Louis boulanger and Eugène Giraud, two painter for creating the costumes of their plays. Paul Lormier was the costume’s designer of the “Académie de Musique”. He was considered as the best historical costume designer. As he worked his all life at the Opera, he could be considered as the first professional costume designer. During this time, the number of costume explosed since it was necessary to have costumes for each period, each category of person. Consequently, this reform changed also lot of things for actors and theater costumes workshop
Archondoulis-Jaccard, Nelly. "La représentation des élites (bourgeoisie et aristocratie) dans les salons de peinture parisiens entre 1880 et 1914 (Exposition nationale des Beaux-Arts, Société des Artistes français, Société nationale des Beaux-Arts) : analyse d'un goût social." Paris 1, 2000. http://www.theses.fr/2000PA010577.
Full textDesvages, Mathilde. "Le Salon de la Jeune Sculpture au temps de Denys Chevalier 1949-1978." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080054.
Full textThis Ph. D. dissertation focuses on the Salon de la Jeune Sculpture from its creation in 1949 to the death of Denys Chevalier, its founding member, in 1978. This dissertation seeks to analyze thirty annual Salons which took place in parisian parks and gardens where artworks by nearly one thousand five hundred exhibitors were displayed. The first chapter explores the career of the art critic Denys Chevalier, the ambitions of the Salon – how to display the sculptures, how to assist the audience in their discovery of the sculptures – and the aesthetic trends of the time. While figurative art prevailed over the first fifteen years at the Salon (second chapter), the gradual entry of abstract sculpture causes most of the figurative sculptors to leave in 1964. Thus the third chapter covers the period from 1965 to 1978. The Salon de la Jeune Sculpture then leaves the gardens of the Rodin Museum, redirects its aesthetic choices and adjusts to new outdoor spaces. Through the history of the Salon de la Jeune Sculpture and its founder Denys Chevalier, this dissertation investigates the aesthetic and institutional situation of sculpture in the second half of the twentieth century, at a time when the sculptural field undergoes profound transformations related to its definition and raises the question of its autonomy
Desvages, Mathilde. "Le Salon de la Jeune Sculpture au temps de Denys Chevalier 1949-1978." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080054.
Full textThis Ph. D. dissertation focuses on the Salon de la Jeune Sculpture from its creation in 1949 to the death of Denys Chevalier, its founding member, in 1978. This dissertation seeks to analyze thirty annual Salons which took place in parisian parks and gardens where artworks by nearly one thousand five hundred exhibitors were displayed. The first chapter explores the career of the art critic Denys Chevalier, the ambitions of the Salon – how to display the sculptures, how to assist the audience in their discovery of the sculptures – and the aesthetic trends of the time. While figurative art prevailed over the first fifteen years at the Salon (second chapter), the gradual entry of abstract sculpture causes most of the figurative sculptors to leave in 1964. Thus the third chapter covers the period from 1965 to 1978. The Salon de la Jeune Sculpture then leaves the gardens of the Rodin Museum, redirects its aesthetic choices and adjusts to new outdoor spaces. Through the history of the Salon de la Jeune Sculpture and its founder Denys Chevalier, this dissertation investigates the aesthetic and institutional situation of sculpture in the second half of the twentieth century, at a time when the sculptural field undergoes profound transformations related to its definition and raises the question of its autonomy
Dhaussy, Martinez Pascale. "Le Musée Grévin : 1881-1918 : une entreprise de divertissement parisien sur le boulevard Montmartre." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010552.
Full textThe musée Grévin has been set up in 1881 by a journalist, Arthur Meyer, associated with the caricaturist Alfred Grévin. The wax museum defined as « rather like Tussaud's museum » becomes the model of an entertainment enterprise
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
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
Pichet, Isabelle. "Expographie, critique et opinion : les discursivités du Salon de l'Académie de Paris (1750-1789)." Thèse, 2009. http://www.archipel.uqam.ca/5476/1/D1890.pdf.
Full textCôté-Martine, Philippe. "Étude du Journal d'un Parisien anonyme, années 1777-1784 et 1787." Mémoire, 2009. http://www.archipel.uqam.ca/2396/1/M10901.pdf.
Full textHolmes, Jonathan. "Gustave Planche's art criticism and his role in the contemporary critique of the Academie des beaux arts, the Ecole des beaux arts (Paris and Rome), and the Salon during the July monarchy." Thesis, 1990. https://eprints.utas.edu.au/20172/1/whole_HolmesJonathan1991_thesis.pdf.
Full text