Dissertations / Theses on the topic 'Sculpture sur bois de la Renaissance'
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Nieddu, Luisa. "Retables peints en Corse aux XVe et XVIe." Thesis, Corte, 2022. http://www.theses.fr/2022CORT0003.
Full textThe research project carried out here is the result of a territorial census connected with an action of identification and recognition of the movable heritage of the XV-XVI century in Corsica, which I commenced on behalf of the Directorate of the Heritage of the Collectivité de Corse, back in 2004. This discussion therefore presents for the first time an analytical inventory of the wooden altarpieces of the chronological phase in question, in which, on the basis of formal and stylistic values, the pictorial evidences are linked to their possible cultural matrices of reference. In 1453 the Republic of Genoa transferred the island to the powerful institute of the Bank of Saint George, which possessed it at least until 1562. However, the island, Genoese from a political-administrative point of view, was not Genoese from a cultural-figurative one. In general, it would seem that the local artists refashioned in a reductive and basically modest way the styles of the masters working in the North Western Italian area (from Liguria to the Oltregiogo, to the Po Valley, and to Nice region), creating their own language, so much reworked in its simplification to make hardly recognizable any figurative matrices of the mainland. However, thanks to the commercial flows and the constant political relations with the Motherland, the island proved to be receptive to the impulses coming from the entire coastal arc of Liguria, in equal measure from the two shores of Ponente and Levante, as proved by the retable of Cassano, signed and dated by Antonio da Calvi in 1505. There was also a flow of up-to-date creations along the transalpine traffic routes into Corsica, such as the polyptych of the Assumption of Canari attributed to the mature phase of the Piedmontese Agostino Bombelli (1530 ca.). The sending of this work documents the spread in the territory of a "Palladian window" architectural scheme, with a triumphal arch, based on more modernized criteria, similar to the polyptychs of Moltifato and Tox. There are also cases that suggest adhesion to Lombard naturalism, and more specifically the Ligurian-Pavese one, such as the Madonna and Child of Piedicroce. The critical rediscovery of the figurative heritage of Corsica thus highlights how much this is the product of heterogeneous conjunctures, expressed by native masters who reworked multiple stylistic features according to their own means, so that perhaps we can finally speak of a "Corsican pictorial school"
Muffert, Sabine Elisabeth. "Renaissance überschränke mit Holzeinlegearbeiten aus dem Rheinland /." Arnsberg : Becker, 1999. http://catalogue.bnf.fr/ark:/12148/cb39243996v.
Full textBertoni, Cren Nadia. "La sculpture sur bois polychrome des XIe et XIIe siècles en Bourgogne." Thesis, Dijon, 2013. http://www.theses.fr/2013DIJOL030/document.
Full textFor the first time, the corpus of Roman wood sculptures from Burgundy is gathered together in a catalogue, with added photographic documents and bibliography. The twenty-five sculptures are listed and studied from a stylistic, iconographic and technical point of view. In the XIIth century, an actual school of monastic wood sculpture seemed to develop within the boundaries of the duchy of Burgundy, bringing a great diversity as far as formal and technical contributions are concerned. The sculptures that are the most representative to help the understanding of those numerous contributions are thoroughly studied. Their stylistic relationships with manuscripts dating back from the Carolingian Renaissance, with the Ottonian sculpture and the contemporary monumental stone sculpture, are pointed out with the analysis of internal characteristics, setting apart different formal languages. The iconographic description shows the specific denotation used in the representation of the holy character. The technical processes of creation are compared through the direct examination of the sculptures and through the collection of usable information. For several pieces, a new dating was suggested; new sculptures and specific artists are brought to notice.The contributions of the wood sculpture from the Auvergne region are specified. The tradition of inserting relics into sculptures is put in relation to the relatively important influence it can have on the building of the shape. One chapter is dedicated to the methodology in the study of wood sculptures’ polychromes. The conservators-restorers play a crucial part in the act of scientifically collecting information attesting the evolution of artistic techniques. Some suggestions are put forward to improve the processes of examination and the collecting of information
Mertz, Mechtild Anneliese. "Wood and Traditional Woodworking in Japan : as perceived by the Craftsmen." Paris, Muséum national d'histoire naturelle, 2003. http://www.theses.fr/2003MNHN0014.
Full textJapan is known to be a country of wood and "wood culture". Written sources on the practical aspect of traditional woodcraft, however, are scarce. Hence it was decided to undertake a study based on in-depth interviews of craftsmen who are specialised in various fields of traditional woodworking. From the data thus obtained it was possible to study the materials, the techniques, the nomenclature, the aesthetics and the culture of the various fields of woodcraft. As a result the technical, symbolic and aesthetic properties of wood and woodworking become apparent, as seen from the point of view of Japanese craftsmen who owe their skills to traditions passed from one generation to the next. As such, this study contributes towards opening a new field of research for art historians, ethnobotanists, archaeologists and japanologists by supplying them with new tools to supplement their own. This study ties in with an academic trend that has been developing in Japan over the past few decades
Sibeth, Achim. "Vom Kultobjekt zur Massenware : Kulturhistorische und kunstethnologische Studie zur figürlichen Holzschnitzkunst der Batak in Nordsumatra - Indonesien /." Herbolzheim : Centaurus Verl, 2003. http://catalogue.bnf.fr/ark:/12148/cb40118329b.
Full textCambazard-Amahan, Catherine. "Evolution du décor architectural sur bois à Fès du XIIe siècle à la fin du XIIIe siècle." Paris 4, 1985. http://www.theses.fr/1985PA040076.
Full textLuh, Peter. "Kaiser Maximilian gewidmet : die unvollendete Werkausgabe des Conrad Celtis und ihre Holzschnitte /." Frankfurt am Main : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb39997201m.
Full textBialler, Nancy Ann. "Hendrick Goltzius and the Netherlandish Chiaroscuro Woodcut /." Ann Arbor (Mich.) : University microfilms international, 1987. http://catalogue.bnf.fr/ark:/12148/cb35535983r.
Full textBoulay, Roger. "La Grande case kanak de Nouvelle-Calédonie : les rapports entre architecture et sculpture en Nouvelle-Calédonie." Paris 1, 1986. http://www.theses.fr/1986PA010659.
Full textRodrigue, Maurice. "Moi, l'art et le mouvement." Thèse, Montréal : Université du Québec à Montréal, 1991. http://theses.uqac.ca.
Full textCe travail de recherche a été réalisé à l'UQAC dans le cadre du programme de maîtrise en arts plastiques de l'UQAM à l'UQAC. CaQCU Bibliogr.: f. 18. Document électronique également accessible en format PDF. CaQCU
Peladé-Olivier, Monique. "Les stalles de Normandie, de Picardie et d'Ile-de-France à la fin du Moyen Age." Paris 10, 2003. http://www.theses.fr/2003PA100174.
Full textFrom the wooden choir stalls of the late Middle Age, which create a special place dedicated to the canonical liturgy inside the churches, only a few scattered examples remain. Some of these, such as those in Amiens, are still in good condition. Although the position of these seats varies slightly from edifice to edifice, the internai organisation is always the saine. The numerous carved subjects that ornament them illustrate the Holy Scriptures, evoke the patron saints or describe the plentiful world of the creation in scenes from daily life or the imaginary world. The working out of an iconographie programme, though dedicated to the liturgy, is subject to various influences of which the human factor is the mort important including consideration of prestige. Each image nevertheless combines with the others to form a coherent whole inside the stalls that then incorporates with the various images located around the choir and the sanctuary
Alard, Mireille. "L'Art des Bashileele, Kasai occidental." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376111572.
Full textMartin, Joëlle. "La représentation du deuil dans les scènes de la passion du Christ peintes sur panneaux de bois au XVe siècle, dans les anciens Pays-Bas." Paris 10, 1996. http://www.theses.fr/1996PA100197.
Full textBela, Cyrille Bienvenu. "Les expressions sculpturales au sud-Cameroun : le cas du pays Beti." Paris 1, 2006. http://www.theses.fr/2006PA010659.
Full textDuhem, Sophie. "Sablières sculptées de Bretagne : images, ouvriers du bois et culture paroissiale au temps de la prospérite bretonne (XVe-XVIIe s.)." Rennes 2, 1997. http://www.theses.fr/1997REN20022.
Full textThis research offers an original aspect of the Breton artistic creation: the production of carved beams' frames, designed between the XVth and the XVIIth century. The composed iconographical catalogue-free from any large scale investigation until now - offers, for us to study, several thousands of images and one subject that allows us to start on the problems raised by the inventory's methodology and the questions debated on within the historical research. This study shows the difficulties linked to a patrimony's inventory and sets out the methods used during the serial inquiry accomplished in the field. The interest in a photographic background, the usefulness of the data computerization, the management of a large iconographical catalogue, and finally, the image processing, are the main points treated prior to the carved beams' historical and iconographical study. The study of the order's context as well as the people involved - clerks, manufactures and craftsmen - but also the one of the iconographical choices and the circulating patterns allow us to understand better the native of this production and to go back to the usual use of the expression "popular art". More widely, this research fits in with the study of the Bretons' cultural environment: mediaeval and reviving pictures chosen by the woodcarvers give precious indications of the interests and artistic culture of men between the XVth and the XVIIth century. This iconography also enriches our knowledge of the parish life and the religious behaviours of the Bretons in the "ancien regime". The chronological extent of the catalogue notably provides the opportunity to understand the cultural changes occuring in the catholic reform's wake
Montemurro, María Laura. "Scuptures de la Vierge à l'Enfant dans les collections publiques de Buenos Aires, XII-XVIème siècles." Thesis, Dijon, 2016. http://www.theses.fr/2016DIJOL023/document.
Full textDuring the last years, the building process and history of art collections became a prolific field of study in Argentina. However, research on medieval art in private and public collections in our country received little or no attention. But even if medieval art is considerably less represented than modern styles, there is an interesting amount of high quality medieval pieces exhibited at several museums in Argentina. The main purpose of this thesis is therefore to expand our knowledge of the medieval works of art in public Argentine collections, as related to their origin, dating, interpretation, technique and provenance. These pieces show great diversity of styles, provenance and technique. Such heterogeneity demanded a selection, in order to define a homogeneous corpus of study. Among the many works of medieval art in Argentine museums, the Virgin and Child iconography is the most represented subject - accordingly, that subject has been our first focus of attention. Finally, owing to the abundance of sculpture, we have decided to limit our study to this technique; and in order to give further thematic consistency to our research; we decided to circumscribe our research to woodwork sculpture
Mainguy, Serge. "Objets trouvés, matière retrouvée." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26290.
Full textYamba, Bidima. "Objets sacrés, objets d'art africains : de l'ombre des sanctuaires à la lumière des musées : la statuette lobi du Burkina Faso." Bordeaux 2, 1996. http://www.theses.fr/1996BOR21012.
Full textPiat, Florence. "Les stalles de l’ancien duché de Bretagne : de la fin de la guerre de Succession jusqu’au concile de Trente." Thesis, Rennes 2, 2012. http://www.theses.fr/2012REN20018.
Full textThe choir stalls of the ancient Duchy of Brittany present an exceptional corpus from the historical point of view as well as from that of the history of art. This thesis focuses on this particular church furniture, supplying its inventory, a study of its iconography and the history and conditions of its creation. The first step of the inventory reveals about ten groups of choir stalls still preserved in Breton churches, which, at least, represent more than 300 stalls and a thousand of sculptures. Themajority of those groups were created between the last decades of the 15th century and the middle of the 16th century. Furthermore, archives give a certain number of useful information for the comprehension of a context of their creation, patrons’ wishes and woodcarvers’ work. Carvers appear to be qualified independent workers possessing an important experience and qualification. The conditions of work depend on geographic and linguistic areas, type of patronage and, afortiori, the specific political and religious context of this period. For example, the Franco-Breton nobility plays a key role in this context, especially in the diffusion of Italian motifs. Iconography of the choir stalls is, finally, of a high interest because of the richness of motifs and the variety of references used in its. The opening of the duchy to the world trade in the late Middle Ages contributes to the diffusion of models and the development of artistic exchanges. Mixing in joyful syncretism religious and profane themes, images from International Gothic and new vocabulary of the first Renaissance, the choir stalls’ carvings of Brittany show us the clerical vision of a world, where moralistic meanings, Christian hermeneutic, satirical views of the society and carnival culture are merged together without contradiction
Blottière, Sylvie. "René Quillivic : 1879-1969." Rennes 2, 1986. http://www.theses.fr/1986REN20019.
Full textResearch about art in Brittany between the beginning and the middle of this century, through the monograph of René Quillivic's work. Born in very simple surroundings, he comes up to Ecole des beaux-arts in Paris by the favour of a local statesman. Since the beginning of his career he gets the war memorial's expert. He knows haw to join academic traditions, realism and regionalism. In 1925, as J. J. Lemordant or the Seiz Breur, but very alone among them, he has share in the Brittany’s art revival, especially in ceramics and wood-engraving. Since 1937, in Paris, his works get less and less estimated among the critics therefore he prefers to turn back about Brittany. After the second war, he appears as the symbol of Breton invention especially for historical, cultural and stylistic opportunities. Indeed, between the first and the second mondial war, when Quillivic's career was at the top, that was just the beginning of a cultural revival in Brittany. His celebrity comes also from his birth in a popular family. His work seems to realise the connexion abetween manual trade and art. But the most important opportunity is his own style: he mingles realism and stylization: faces are generally portraits, volumes and dress are schematized. After the last war, thoughts about an original Breton culture are more and more imperious and René Quillivic appears as the modern Breton sculpture's forefather
Alard, Mireille. "L'Art des Bashileele (Kasai Occidental)." Paris 1, 1988. http://www.theses.fr/1988PA010618.
Full textKlein, Alice. "Hans Wechtlin, peintre à Strasbourg à la veille de la Réforme." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040097.
Full textA court painter to Duke of Lorraine René II in 1506 and an artist active in Strasbourg until the end of the second decade of the 16th century, Hans Wechtlin has yet not been the subject of any monograph since 1907. The present work therefore aims at filling the gap by renewing the knowledge of artistic production in Lorraine and in the southern Germanic area, as well as customs regarding commissioned paintings, stained-glass windows andwoodcuts on the eve of Reformation.Based on a new form of artistic contextualization, this study questions the itinerary of a painter of whom everything but his legacy remains unknown until this day, in order to bring his relationships to other artists and printers into light. Finally, a comprehensive, annotated listing of his complete works reveals the extend and impact of the productions of a major figure of Rhenish graphic arts