Tesis sobre el tema "Art publique"
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Meyer, Céline Régimbeau Gérard. "L'art en bibliothèque publique". [S.l.] : [s.n.], 2009. http://www.enssib.fr/bibliotheque-numerique/document-2073.
Texto completoCouret, Magali. "La production de l'œuvre publique d'art contemporain". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010256/document.
Texto completoContemporary art transgress, it is a fugitive art, which we remember thanks to our memories, to photographs and protocols owned by institutions, ready to be revived. The contemporary work of art is dematerialized and located in-between many fields of creation. That is why legal experts have troubles understanding it. Nowadays, a sole artist does not make the work of art anymore. Although, it is the result of the work of a team, gathering multiples professionals, who divide the creation of the work of art up in many phases. That phenomenon is called « production of art». Thus, contemporary art is a complex subject for the law, which is still focused on the form and materials constituting the work of art, instead of being focused on the ways it is produced. The artistic production is regulated by customs, which tend progressively to take advantage on the law. In fact, this creates divergent practices and interpretations of the rules. Plus, the law and the customs sometimes tend to overlap, and no one knows which one should be applied. The question we try to answer in this thesis is how is it possible to reduce the gap between the professional practices and the law, in pursuing the goal to bring legal security in the artistic production, and most specifically, in the field of public call for artists
Kaveh, Samira. "Le droit d'exposition publique". Thesis, Montpellier, 2016. http://www.theses.fr/2016MONTD004.
Texto completoThe right of public exhibition right like a copyright law for the artistic works is objective of our research. Public exhibition can be assimilated to a traditional mode of exploitation of artworks. This mode of exploitation of artworks can be recognised by the copyrights and reserved by artiste. But the exhibition right has been confused in the contract practice. The artistic work see like an objetct. The copyright can not be recognised for the artworks because of the material object. But the works of artistes like artistic work and they artistic expression are communicated to the public in exhibition. This is an exploitation of artistic work in the public exhibition
Genet-Delacroix, Marie-Claude. "Art et État sous la IIIe République : 1870-1940". Paris 1, 1989. http://www.theses.fr/1989PA010558.
Texto completoThis thesis is devoted to the historical and sociological study of the objective and symbolical characters of the relations between state, art and the artists. Their interpretation in the general frame of the cultural anthropology of the liberal system is attempted at two different levels : - a socio-institutional analysis of the beaux-arts system in its different components (administrative structure; the "conseil superieur des beaux-arts", its work and history (with a prosopographical survey of its 344 members : 120 artists, 98 civil servants and art critics, 126 politicians); finances : budget of the beaux-arts; educational system and its artistic reforms; artistic market). - an analysis of the discourse on art in its different forms and functions (writings on art, artistic criticism, biography and autobiography), as well as of oppositions involved in the writer's work, between the professional art reviewers and historians and the artists -the professionals of artistic creation
Ozga, Kasia. "La sculpture publique aujourd'hui entre objet et évènement : expérimenter le temps - activer l'espace". Paris 8, 2013. http://octaviana.fr/document/178617598#?c=0&m=0&s=0&cv=0.
Texto completoThis study aims to analyze how public art projects beg the question, both philosophical and political, of the function of a work of art. At once accessible and critical, public sculpture gives a social dimension to the phenomenological experience of the body and enables the public sphere to materializes into a real space of social interaction. Our 55 case studies cover contemporary sculpture created in the Western world, primarily after 1980. These works appeared at the same time as the critical discourse on public art began promoting intangible forms of social practice. The sculptures link together public space, the human body and time structured by human history. These links are discussed in three sections that explore how each artwork challenges individual identities, reveals social relationships to be processes that evolve over time, and encourages the viewer to become publicly engaged in social change. Contemporary public art welcomes conflict and undermines both the rational consensus endorsed by models of the discursive public sphere and the dominant hegemony, supporting an approach intent on creating temporary spaces for exchange and dialogue. While we can distinguish between critical public artists that defend agonistic spaces and those who aim to create consensus, we maintain that public sculpture, which at once exists the public interest and supports political renewal, must oscillate between these two positions. In the past, public art was created for an existing audience. Today it must form its own public
Aguilar, Yves. "Les catégories esthétiques de l'Etat : un art de fonctionnaires : le 1 % [pour cent]". Paris 1, 1988. http://www.theses.fr/1988PA010254.
Texto completoThis study deals with the description of the interplay of law and art put in motion by the power which is available to it. After a quick chronological survey, the basis are researched before the exposure of the practical and theoretical forces of the mechanism. Then the analysis of a series of case studies shows that most of the time, art stems from the state. This demonstration is reinforced by the recreation of the careers of artists of the state in constant touch with civil servants of art. This dialectic of the state and art is based upon a legal substratum which is examined through the function one of the limits of which is financial. The eventual outcome is that if "dignitas non moritur", nor does art for it is an integral part of it
Ahamed, Youssouf Hassani Mzé Hamadi. "Théâtre à l'hôpital et politique de santé publique : approches de sciences auxiliaires du droit". Thesis, Normandie, 2020. http://www.theses.fr/2020NORMLH14.
Texto completoIn France, medicine is generally invaded by cultural activities and health centers are converted into theater and arts sites. Healthcare professionals find themselves forced to work with artists not only for the event of improving healthcare policy but as well to change the patient's state of health.In this particular case, the theater has often drawn its sources from the fields of health and medicine to disclose its information, and medical health, however, has never ceased to appeal to the theater as a way of communication. The theater provides directly a better communication of patients and hospital users with healthcare personnel and is a very important step in the improvement of the health state of the patient and those around him. The ability of the theatre to inform, educate and communicate is an asset that all disciplines can share. But medicine is appropriating itself this system with the assistance of theater professionals (artists).With big interest, this work has put in value a question on how the theater can be a part of healthcare in one hand, and in the other hand, the question of the ownership of artistic and scientific works the put apart artists, healthcare professionals and patients.This work has as well questioned on the definition of these artistic works resulting from the performance of patients in the hospital’s theater workshops who suffer from psychological disorders. The medical professional, the actor therapist and the patient, each of them, request or claim ownership of these works. This work has demonstrated numerous and significant obstacles, due to, particularly, the involvement of different professionals and different legal platforms.This work shows that occupational therapists, psychiatrists, nurses and other health professionals continuously use theater in one way or another, a therapeutic way in psychiatry, occupational therapy and other health treatments processes. This is why this policy of integrating culture within health centers has prompted this research work to study the place and status of the artist in the hospital as well as to seek and understand how the theater as practiced by health professional alone or in collaboration with the artist, can be a therapeutic means.The 1999 Convention signed by the Ministry of Culture and the Ministry of Health provide to the artist the possibility of introducing cultural (artistic) activities to the hospital but does neither specify the professional status of the artist in the hospital nor his responsibilities in the event of damage. This work has tried, through this convention and its scope, to give a status to the therapeutic artist performing in the hospital.This work shows, from the beginning to the end, that the art of theater participates in the patient care process not only during hospitalization period but also after discharge from hospital. It promotes social reintegration and helps the patient's relatives to understand their patient.This analysis makes clear the understanding, that the practice of dramatic theater in hospitals deserves special attention and specific regulation
Four, Pierre Alain. "Intervention publique et art contemporain : la création des Fonds régionaux d'art contemporain, : leur insertion dans le monde de l'art et leurs politiques d'acquisitions". Paris, Institut d'études politiques, 1995. http://www.theses.fr/1995IEPP0014.
Texto completoDealing with public policies, in relation with FRACs (fonds régionaux d'art contemporain). This PhD concerns as well art sociology and art history. The first part analyses how the policy was built and how the decision to apply it was taken. The origins of the FRACs, funded by the state and regional autorities, in order to support contemporary art through exhibitions and purchases, are widely studied. These roots appear to express a compromise between the partisans of a relaunch of art democratization through a larger diffusion, and those of a modernisation of the public intervention in order to better take into account the latest evolutions of contemporary art history. Soon after their foundation. FRACs encountered some profund changements, which the second part of this study describes in details. Many managers of theses institutions chose to follow the professionnal rules of the world art instead of following the initial political goals. This was mainly due to a lack of legitimacy of public intervention in this sensitive field. The third and last part closely examine art purchasing, one of the most specific activities of the FRACs. A "battle" for the definition of art (what is art and what is not) goes with debates about officialization of art and aesthetic criteria through public intervention and massive purchase. Nonetheless, it appears that this intervention remains pluralistic : the works chosen by the FRACs reflect a wide range of "definitions" of art which does not enable to conclude that these institutions contribute to rebuilt academic aesthetic criteria
Cervera, Raphaël. "Figures de l'oubli : images artistiques et fabrique de la mémoire publique, du quinzième siècle à nos jours". Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30043/document.
Texto completoDoes our time truly know a memorial bidding? The idea of a loss would become almost unbearable to us. Many humanities studies have been devoted to memory (Halbwachs, Le Goff, Yates ...). For the last twenty years, however, oblivion has preoccupied artists (Pascal Convert or Anne and Patrick Poirier) and intellectuals (Augé, Todorov, Ricoeur). During the Renaissance already, the artist and biographer Giorgio Vasari claimed to fight against this "second death" that oblivion would represent. Starting from the re-emerging notion of glory,, from its links with history, we intend to draw a genealogy of this "contrarian" oblivion which prevents a just memory, using several images, several figures of oblivion. Indeed, we should firstly analyze "forms of oblivion", and then examine how artists have given a "figure" to oblivion. It is then a study on the image of public memory that we offer (provided that we include in the same term material images and pictures of the speech). How does oblivion can be perceived in turn as a place, a character, a process? What is its connection with the historiographical undertaking? In order to answer such questions, we need to examine the intricacies between history and memory, historians and works of art, artists and speeches that legitimize their practice. According to our work, public memory, far from knowing an excess, has known a large deficit instead
Delerins, Richard. "Le goût des saveurs : art culinaire et philosophie à l'âge classique". Paris 1, 2011. http://www.theses.fr/2011PA010667.
Texto completoSidorova, Elena. "US public diplomacy through the prism of Andy Warhol’s Pop Art". Thesis, Paris, Institut d'études politiques, 2019. http://www.theses.fr/2019IEPP0043.
Texto completoThe current thesis studies the interplay between U.S. public diplomacy and Andy Warhol’s Pop Art. It argues that U.S. public diplomacy is embedded into three forms (the ‘hierarchical’, ‘hybrid’, and ‘horizontal’ ones) and that each form of U.S. public diplomacy follows its own, individual ‘principles’ of the international promotion of Warhol’s work. When U.S. public diplomacy takes the ‘hierarchical’ form, Andy Warhol’s Pop Art gets promoted internationally through the U.S. national participation in World’s Fairs and the Venice Biennale, and USIA’s travelling shows. When U.S. public diplomacy takes the ‘hybrid’ form, Andy Warhol’s Pop Art gets promoted internationally through MoMA’s international program of circulating exhibitions and the Art in Embassies Program. When U.S. public diplomacy takes the ‘horizontal’ form, Andy Warhol’s Pop Art gets promoted internationally through the gallery shows and museum exhibitions organized by U.S. and European art dealers and art curators who work independently from the U.S. government
Thiéry, Sébastien. "La commande publique contemporaine ou l'échéance de la politique monumentale : l'institution de l'État au miroir des "anti-monuments" installés dans l'espace public en France (1983-2002)". Paris 1, 2003. http://www.theses.fr/2003PA010261.
Texto completoOrnano, Stanislas d'. "Art contemporain et régulation politique dans les années 80 : étude cognitive comparée (Allemagne/France)". Grenoble 2, 2002. http://www.theses.fr/2002GRE21004.
Texto completoDubois, Vincent. "La culture comme catégorie d'intervention publique : génèses et mises en forme d'une politique". Lyon 2, 1994. http://www.theses.fr/1994LYO22005.
Texto completoDefinition problems are a main issue and a specificity of french cultural policies. Historical comparison (1880-1914 and 1960-1990) shows that these problems result from the conflicts for the production of legitimate representations of the social space and for the monopolisation of the universal. These conflicts bring together the agents of the state and those of the cultural field at each stage of these policies institutionnalization "cultural policies" category, constantly referred to the social space, then only becomes stable in a structural blur
Tseng, Jii-Rong. "Un art national se dissout-il dans la mondialisation de l'art ? : comment l'art à Taïwan et dans la diaspora taïwanaise depuis 1987 est parti de son nationalisme pour en arriver à sa position cosmopolite". Thesis, Paris 10, 2009. http://www.theses.fr/2009PA100191/document.
Texto completoTaking refuge in Taiwan in 1949, the authoritarian Kuomintang, JIANG Jei-shi, owned art treasures of the Forbidden City in Beijing to support its legitimate and orthodox inheritance of traditional Chinese culture and political system - the Republic of China - to Taiwan. However, the development of Taiwanese art was to forge national consciousness and cultural identity. The subjectivity of Taiwanese culture has not developed since the Spanish colonization of the 17th century. 1987 - the lifting of martial law - has pushed the art into his transition: its historic mission of enabling political propaganda, nationalism and cultural identity was stripping. Therefore, the Taiwanese art accelerated synchronously with the art world. The economic miracle and diplomatic defeat for 70 years led the first wave of Taiwanese cultural subjectivity: the nativist movement. The second impulse, the movement of "Taiwanisation" 80 years, is putting in evidence of "art as a political issue" of the Independence Party. By the 90s, the state actively promotes his art in the West. Globalization encourages - the brain drain of art from Taiwan to China in the West, the arrival of immigrants from Southeast Asia in the island, the frequent travel of young designers abroad - the market of national art was declined. The development of Chinese art in the West pushed nationalist carrying this art to consider his dilemma: an art to defend its national identity or cultural taste commercial art expressed in Chinese art. Artists emigrants overseas entangled between the nostalgic myth of 'old diaspora and the flexibility of national identity "new diaspora". Key member of the "Cultural China" after Taiwanese art in the Chinese world is not only a critical issue for China, but also that of the world
Wang, Hongfeng. "Être artiste à Shanghai au début du XXI' siècle, entre institutions publiques et marché". Paris 7, 2014. http://www.theses.fr/2014PA070073.
Texto completoThe development of the art market in China has drastically changed the Chinese art world for 30 years. This market is supervised, controlled and monitored by the govemment which also vigorously takes part in its expansion. First, this thesis disçusses the analysis of public and private mechanisms which allow artists to practice their professions. All these mechanisms are presented in a historical perspective. The main research field of this thesis is the city of Shanghai. It shows that these public and private mechanisms, far away from opposing each other, interpenetrate each other. Second, this thesis talks about artistic careers: from training programs in schools and at universities to part-time or full¬time pursuit of the artistic profession on the local, national or international stage. This survey is based on questionnaires and interviews with artists and students who are very involved in visual arts. Thus, this thesis is both a contribution to the literature on changes in the fast 30 years and to the one on artistic careers
Bastoen, Julien. "L’Art contre l’État ? : la trajectoire architecturale du Musée du Luxembourg dans la construction de l’illégitimité de l’action artistique publique, 1848-1920". Thesis, Paris Est, 2015. http://www.theses.fr/2015PEST1075/document.
Texto completoThis dissertation in architectural history argues that the architectural trajectory of the Luxembourg Museum in Paris was one of the main reasons why the French public art policy was considered as unwarranted and illegitimate. The Luxembourg Museum, whose collections are now scattered in various Parisian and provincial institutions, became in 1818 the world's first museum of contemporary art, by the will of King Louis XVIII. From the beginning, its aim was to feed the Louvre with recent and national art. The symbiotic relationship between these two museums, which was based on the principle of communicating vessels, was a paradigm for new museums in Europe and North America, until the first third of the twentieth century. Although the main mission of the Luxembourg Museum was to assert the superiority of French art face to that of other European nations, it was long criticized not only because it did not reflect the diversity of artistic trends, but also because the conditions under which its collections were stored and exhibited were unworthy of Paris' attractiveness and influence. Through the analysis of primary sources, press reviews and parliamentary papers, we wanted to test the hypothesis that the mobilization of different categories of stakeholders within and outside the artistic field led to an increasing distrust of public art policy. Leading artists represented in the museum, influential journalists from daily and art newspapers, art and patrons societies, citizens and merchant associations, promoted mobilization against through speeches, petitions, surveys or media campaigns. Even the museum professionals themselves were powerless against complicated bureaucratic procedures, shoestring budgets for national museums, and unsuitable storage and exhibition spaces, and ended up questioning the role of the French state in art policy. The negative image of the role of the French state was shaped at key moments and recurring events: the re-hanging of the collection, the display of a new gift or bequest, discussions about the annual budget of the ministry of Fine-Arts, World Fairs, preventive conservation matters, and rumors. However, the most critical moments coincided with the questioning of the very existence of the museum, with the threat of its uprooting, or the formalization and implementation of resettlement, extension or reconstruction schemes. Each of these events crystallized themes and issues that polarized most of the criticisms aired at the public art policy. We identified four major topics in this debate: the shameful absence of a purpose-built museum of contemporary art in Paris; the Governement's inability to raise funds to finally resolve the architectural issue; the lack of consensus on the future museum's location issue; the contradiction between the recognition of the curators' skills in architectural design and the inability of their administration to give them the opportunity to apply them. The main paradox is that although the public art policy was more and more considered as inaccurate and illegitimate, most of the artistic field helped the Government to resolve the ‘Luxembourg issue' and build a monument worthy of the nation
Aubouin, Nicolas. "L' institutionnalisation des espaces artistiques déterritorialisés : de la construction de nouveaux mondes de l'art à la transformation des modes d'action publique". Paris 10, 2009. http://www.theses.fr/2009PA100123.
Texto completoThis PhD thesis studies institutionnalization (Di Maggio et Powell, 1991) of new areas of artistic creation and distribution, outside the more conventional outlets – named disdeterritorialised areas – such as the “new territories of art” (artistic practices on former industrial or commercial wasteland, in derelict housing, etc. . . ), and street arts, raises the question of both the frontiers and approaches to public action. Indeed the transversality of these projects and the role that local authorities play in their development as well as the reconfiguration of operating formats, require the public administration to reorganise its actions through the creation of more transversal intervention mechanisms, the development of cooperation ventures between public actors and the commitment of new comptencies and expertises. Finally, this process demonstrate a co-building of new management tools (Moisdon, 1997) and public management. This thesis put forward a new representation of Art Worlds (Becker, 1982) and role of State
Correa-Calleja, Elka Margarita. "Nationalisme et modernisme à travers l'oeuvre de Mahmud Mukhtar (1891-1934)". Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3118.
Texto completoThis thesis is about the life and works of Mahmûd Mukhtâr, glory of Egyptian art, at a time where the debates around national identity are crucial for the construction of the modern nation. In Egypt, the idea of creating figurative art was linked to the development of Pharaonism – a historicist trend close to territorial nationalism, in which the central idea was that geography was the determining factor in Egyptian history.Egyptian historiography, starts considering that Arab figurative art was in “delay” compared with that of Europe. The reason for the development of this idea was that at the beginning of the XXth Century, modernity found one of its most important expressions in European “avant-gardes”.But, in reality, after the Great War, a reactionary movement emerged. This trend favored the return to classical order, which was an art closer to Academism and figuration. We qualify as modernists, those works of art that are between these two tendencies: the return to classical order and the “avant-gardes”. It is precisely in this context where we can place Mukhtâr’s work. In this sense, the main objective of this dissertation is to compare Mukhtâr’s artistic production, with that of his European colleagues, in order to reconsider the idea of “delay” of Egyptian art created during the interwar period
Khennouf, Nora. "Le sacré dans l'art contemporain en France dans la seconde moitié du XXème siècle". Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/in/theses/2009_in_khennouf_n.pdf.
Texto completoA significant number of works of contemporary art; paintings, stained-glass windows, architecture are called holy art. What is holiness? How can it be identified and what is its function? Contemporary art in France, during the second half of the 20th century, must be considered from the viewpoint of the political and religious history on the European continent. By using Judeo-Christian symbols of the religious inheritance artists express their feelings about the world in which they live. Informing against all sorts of suffering and injustice the artist gets involved as a citizen of the world standing up for universal human values. That artistic autonomy goes together with a policy of public orders developed in the 80s by the government concerning listed buildings. Extending the first actions of Fathers Couturier and Régamey in the 50s, the Central government in partnership with religious institutions allows the artist to create esthetic and spiritual works of art. Space, matter, shape and colour give birth to stained-glass windows: transcendental creation offered to people in search for meaning. What you cannot see or cannot say comes up through alchemy surpassing the craftman. Le Corbusier, Mario Botta, the former in Saint-Pierre's church in Firminy in La Loire department, the latter in Evry construct and raise places of worship up to places of spirituality and culture. Artists, curators, philosophers, churchmen, teachers have enriched my research and account for the sources of my study. Their work strengthens my belief that a sacred art relying on the artist's sensibility and commitment imposes itself on the world today
Toussaint, Jacques Heinrich. "Le citoyen et la commande : l’art public dans l’espace public en France et Allemagne (1973-2008)". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080123.
Texto completoThis thesis examines the commissioning of public art in public spaces between 1973 and 2008 in metropolitan France and Germany. Without losing sight of the artworks in all their diversity, our aim is to examine the institutional policies of these two democratic regimes, in particular the commande publique in France and, on the other side of the Rhine, the municipal programmes of Kunst im öffentlichen Raum of the city-states of Bremen and Hamburg. The dynamics we analyse respond to very different political and cultural contexts, but they are deployed in relation to a common (though sometimes vague) idea: the democratisation of access to culture. The public and the publics are taken into account, a concern which leads us to question the varying importance given to citizens, relatively to historical and political contexts. We especially address their role in the decision-making processes, in the issues related to mediation, and in the inclusion of participative or collaborative works.Consequently, we conduct a careful comparison of both national perspectives, using their inception as an historical starting point, and drawing from a large body of critical and theoretical literature, institutional archives, and interviews. Such a synthesis, supported and illustrated by informed commentaries of various artistic achievements, allows us to pinpoint crucial and subtle differences and similarities. Finally, we take on a transnational outlook to outline a typology of the involvement of citizens in the commissioning of public art in public spaces
Allouard, Béatrice. "Vers un nouveau modèle d'administration culturelle publique en France : d'un "Etat providence" vers un "Etat expert"". Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10052.
Texto completoVentura, Christelle. "La fondation du Musée du Quai Branly : matériaux pour une anthropologie politique et culturelle d'une institution". Paris, EHESS, 2006. http://www.theses.fr/2006EHES0283.
Texto completoBeing the direct heir of Jacques Chirac and Jacques Kerchache's project to reserve a separate space for the exhibition of "Arts premiers", in the Louvre, the Musée du quai Branly", embracing the objects on which anthropology was founded and difined, was set to announce a new area of ethnographical museums in Paris. The cultural and political anthropology of the eleven years that were necessary for its elaboration and construction explains the origines and the ambitions of this museum in the tradition of the presidential Grands Travaux. The museographical and epistemological analysis of thid new institution, as well as of older ones, illustrates the perception of non-western arts and societies and the space set aside for anthropology in the musée du quai Branly
Cârneci, Magda. "Discours du pouvoir, discours de l'image : l'art roumain pendant le régime communisme". Paris, EHESS, 1997. http://www.theses.fr/1997EHES0018.
Texto completoCormery, Lise. "L'Art en France de 1959 à 2000. Etat, Marché, Politique, Société et Communication. : socio-politique. Action et communication poplitique des beaux-arts. Sociologie. Artistes, commisaires-priseurs, marchands, experts, critiques des impressionnistes à l'an 2000. Communication. De la tradition aux nouvelles technologies et Internet". Paris 7, 2002. http://www.theses.fr/2002PA070021.
Texto completoWhy did France lose its past aura as the number one nation devoted to fine arts ? Is she now welcoming, creating or destructing them ? Does our regalian governance save, take advantage or destroy art ? Since the creation of the Ministry of Culture by Malraux and De Gaulle in 1959 all governments have nominated a minister of Culture. In 2000, is such an institution for the better or some kind of a dictatorship ? What are the cultural and sociopolitical profiles of our Présidents and the ministers they have chosen ? Are they political heroes or plain media specialists ? Do they act or do they communicate ? Are the people devoted to fine arts trapped into a schizophrenic society or do they benefit with a well-balanced political system ? Are certain ideological alienations and de facto tyrannies like dictatorships of proletariat, technodemocracy, centralization by civil servants and officials, as well as the cult of the Goddess of Reason, Satism, and the with-hunt of free-minded people annihilating democracy as well as apolitical and independant "free ARTists" ?. .
Personné, Laurence. "L'enseignement du dessin dans l'école primaire et secondaire publique de la Troisième République (1870-1914) : contribution à l'invention d'un nouveau citoyen". Lille 2, 1998. http://www.theses.fr/1998LIL20014.
Texto completoThe teaching of drawing appeared as a new branch of education at the end of the xixth century, when it was legally integrated into all primary and secondary lay schools. Displaying procedures and contents of the impregnation of this school subject by ideologies of this period, historical sociology of the special system for teaching of drawing proves that this branch helped the young to learn how to become "good" citizens. Firstly, definitions of drawing and its teaching showed the will of the intellectual and political authorities to change the individual artistic act into a real school subject. This resolution was included in programs, which imposed an object, an aim, and a special teaching method in the teaching of drawing. Secondly, the appearence of the teaching of drawing into the educational system showed the difference between the political intention theorized in the legal texts and the real practice of drawing lessons. At the beginning of the xxth century, this difference came home to authorities and instigated a new consideration about the education of teachers and the evolution of the programs. Finally, permeability of teaching of drawing to scientific theories and important social and political debates allowed it to spread republican theories of mother country and citizenship
Soukup, Sara. "La normalisation de l'art et ses limites : le cas de l'estampe originale en Tchécoslovaquie de 1948 à 1989". Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/soukup_s.
Texto completoThe artistic policy of the totalitarian regime in Czechoslovakia from 1948 to 1989 brougt about a normalization of artistic life. It supervised artistic creation, defining the extent of possibilities and controlling production with more or less severity according to the period. This context of constraint can be historically defined from political speeches or sources published about the topicality of the exhibition-scene. A discrepancy emerges between the planning and the actual implementation of instructions, and reveals a power-struggle between the imposed line of conduct on the one hand, and deviancy and resistance on the other. Between clandestinity and semi-legality existed a marginal uncoordinated artistic community composed of individual destinies. For marginal artists the print was a means of expression capable of getting round the limitations of access to the public, opening onto an introspective, introverted and existentiel sensitivity, and offering a vast range of original creative possibilies. This directions allowed very different artists such as Jirí Balcar, Vladimír Boudník, Jozef Jankovic, Oldrich Kulhánek, Eduard Ovcácek, Bohuslav Reynek and Adriena Šimotová to discover a form of liberty going beyond their feeling of isolation, and to affirm and bring to recognition their moral and aesthetic norms. Realism, conditioning, irony and compassion are to be found amongst the fundamental themes of these artists' expression
Bauerfeind, Bettina. "Le contexte en question : les expositions de projets d’art public et leur influence sur la création artistique contemporaine". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040158.
Texto completoIn the 1970s site-specificity revolutionizes the framework for artists working in the arena of public art. A new exhibition format, entirely based on new commissions, extends institutional activity way into the heart of the city space. By challenging artists to create new works that engage their particular urban surroundings (for example, the topographical, historical or architectural aspects of a site), these exhibitions of mostly temporary public art projects give a crucial new impulse to contemporary artistic creation in the city.This dissertation examines the effects this new form of commission exerts on the artists’ works by analyzing the ties that bind the projects to their installation sites. Following the evolution of public art project exhibitions from their inception to 2007, we distinguish between three main trends. Not only do they present major organizational differences, but their artistic content is characterized by a successive and substantial expansion of the participants’ formal vocabulary. A distinction between an abstract, an urban and a relational form enables us to evaluate the different degrees of contextual integration of extrinsic elements into the works of art and to locate the impact these commissions have on projects created with urban ready-mades found on the site. New types of monuments, mostly ephemeral, constitute a public art without historic precedents and of which we measure, at the example of twelve case studies, the relation to individual artistic methods
Amidon, Catherine S. "La politique artistique française des années trente : étude des expositions en France et à l'étranger". Paris 1, 1992. http://www.theses.fr/1992PA010663.
Texto completo"French art and politics in the thirties : a study of french and foreign exhibitions" is an analysis of : paintings in the context of exhibitions, the political ideologies of those who planned these cultural events, and the commentaries of them by critics the wars. The evolution of a system of exhibitions in France, and the diffusion of the values it embraced, developed at the same time as analogous institutions in other countries. The national systems controled in France by non-elected civil servants - provided politically charged input into the international system. In France the works and the exhibitions were used as tools to deal with the social crisis and depression. The image of artistic stability constrasts with the social agitation of protests in the streets in 1934 and the take-overs at the building site of the exposition universelle in Paris in 1937. France, Italy and Germany are the principal countries in this study, although the United States and England are also essential to the understanding of the problems specific to international exhibitions with a directive influence on world politics. This study of exhibitions in the thirties permits the consideration of different and otherwise undefinable aspects of french culture between the wars essential to understanding its' art and politics
Perrot, Xavier. "De la restitution internationale des biens culturels aux XIXe et XXe siècles : vers une autonomie juridique". Limoges, 2005. https://hal.archives-ouvertes.fr/tel-01536066.
Texto completoThe cultural objects (monuments, arts works, scientific, religious or ethnologic objects) are regularly menaced by economics or politics stakes. Even, some of them could be separated from their context of origin. The question of the context of origin, and the problems of the return, invite to create a special legal status to some of these objects enough important to derogate to the statute law. Indeed, the property or the prescriptions, often prohibit cultural returns. The statute law can't integrate the symbolic contents of the cultural objects. By analogy, the ancient's legal concepts, as the natural classical law or the Roman law, could improve the modern law. By the way, the cultural objects which are separated and isolated could return to their context of origin
Nascimento, Fialho Ana Letícia do. "L'insertion international de l'art brésilien : une analyse de la présence et de la visibilité de l'art brésilien dans les institutions et dans le marché". Paris, EHESS, 2006. http://www.theses.fr/2006EHES0053.
Texto completoGlobalization represents at the same time a chanllenge and an opportunity for less developed contries in many sectors, the art among others. In Brazil, to participate in the "international" art scene is presently a major goal for agents and institutions belonging to the national contemporary art world. But, in fact, what is the place of Brazilian visual art production in the international art markert and institutions ? What are the conditions and the advantages of acess to international recognition, in symbolic and economic terms ? Those are some of the questions we raise in this thesis, presented in three parts. In the first part we challenge the idea of the "new map of the arts", wich the globalization process would had made suposelly more diverse and democratic. Our work argus that art work from "peripheral" zones access to more central art scenes according a market logic : the need to renew the offer of cultural goods. What is presented as the "democratization" of the internationl art word is in fact the answer to the demand of new goods by different "markets" : institutional, academic, commercial. The second and the third parts of this work present the results of a large empirical research about the international insertion of Brazialian art in the international institutions and in the market, confirming the general hypothesis developed in the first part
Savoy, Bénédicte. "Les spoliations de biens culturels opérées par la France en Allemagne autour de 1800". Paris 8, 2000. http://www.theses.fr/2000PA081924.
Texto completoGoursaud, Bastien. "Du spoken word à la parole publique : inscrire la performance dans la poésie britannique contemporaine". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL132.
Texto completoSince the 1980s, contemporary British poetry has been characterized by the emergence of minority voices and a diversity of forms and practices. That expansion of the poetic map is often read through what Sean O’Brien called a deregulation, in reference to the social and political changes which have influenced British society since Thatcherism. This thesis looks at a central aspect of that phenomenon: the development of a conception of the poem as public utterance. By focusing on a range of poets representing minority backgrounds or unheard voices and working across spoken word poetry and other types of performance poetry, it demonstrates that poetic diversity is the result of a pluralization of the poem itself. Poems are transformed by other mediums and by exchanges with other art forms (popular music, cinema, painting) which in turn questions hierarchies and dominant poetic forms. Poetry off the page becomes both an aesthetic and political experiment. The poet’s public figure constructed by the poems is an elusive mask which oscillates between fiction and lyrical poetry. The poem as public utterance interrogates the relationship of the body to the text in performance, as well as the materiality of the poem on the page. In so doing, it also questions the way contemporary poetry is received and discussed. Similarly, in spite of the multiplication or atomization of the poem on several mediums, the structural relationship of this type of poetry with the presence of a community in performance creates representations of the community and collective utterance
Prevel-Montagne, Corinne. "La représentation des grands hommes dans la sculpture publique commémorative en Bretagne : 1685-1945 : les pratiques, les sculptures et les oeuvres". Rennes 2, 2003. http://www.theses.fr/2003REN20009.
Texto completoThe @public statutory represents a large artistic patrimony forsaken for a long time by history of art. In Brittany, on hundred and nineteen monuments have been erected to great men between 1685 and 1945. Initiatives from local councils or private commissions succeed to royal orders. They set up more democratic practices in the choice of the sculptors and the financings. In the end of the ninetenth century, the statue-mania, inspired by the egalitarian ideals of the Revolution, follows republican propaganda. In Brittany, its growth is rather slow til the Second Empire and reaches its golden age during the Third Republic in spite of some legitimist and religious oppositions. All sculptors come from Paris Academy of Art and produce conventional works inspired by David d'Angers. But in the early twenties, the emergence of regional culture give a new inspiration to this sculpture
Viraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939". Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.
Texto completoIn 1946 the publication of John Rewald’s History of Impressionism in New York consecrated the aura of the movement’s scientific historiography, supported by documentary investment. This quality confronted laymen’s narratives, which oral tradition and some witness’s accounts’ reputations dominated. Yet, a close consideration could not agree with the assumption of an exclusive scholarly nature of the document. Since the beginning of the 20th century, varied producers, such as artists, witnesses, heirs, critics, journalists, as well as professional historians, museum curators and academics formed an impressionist documentation. It thus can be interpreted as a quest for factual truth, as much as an appropriation of a research object through its written and visual marks. The equipment of impressionist readings hence gathered are: autographs; memorabilia, movable and physical assets as souvenirs of artists; photographic and cinematographic technologies. Moreover, these documents fit into a broader visual culture which included monuments and commemorative plaques of the public sphere, or motives transformed by pictorial acts into remarkable viewpoints. A historical and critical study of such a writing of history as documentary (de)monstration allows here to look back to its execution’s social and visual contexts, the career issues in which it participated, the goals that had been assigned to it within both scholars’ and laymen’s art discourses
Alary, Luc. "De l'art vivant à l'art moderne : genèse du Musée national d'Art moderne". Paris 1, 1997. http://www.theses.fr/1997PA010526.
Texto completoThis doctoral thesis deals with the process of formation of the "Musée national d'Art moderne" from the creation of the "galerie royale destinée aux artistes vivants" in 1818 until the opening of the "Musée national d'Art moderne" in 1947. The history of the institution, through its successive definitions, brings into light the birth of a museological consciousness for modern art, closely connected with political change, architectural and technical improvements, debates about classifying methods. As a whole, this thesis could be an alternative history of modern art as a part of national patrimony
Zaretskaïa-Balsente, Ioulia. "De la vérité allégorique à l'érosion du système, une troisième voie : les non-conformistes intégrés et le pouvoir en URSS : 1965-1985". Paris, Institut d'études politiques, 2000. http://www.theses.fr/2000IEPP0003.
Texto completoSinnassamy, Christophe Théry Jean-François. "Finances publiques de la défense : objectifs budgétaires et gestion publique des politiques d'armement /". Paris ; Budapest ; Torino : l'Harmattan, 2004. http://catalogue.bnf.fr/ark:/12148/cb39215283f.
Texto completoYu, Min. "Art sous contrainte : artistes, peinture et politique en République populaire de Chine (1949-1966)". Paris, EHESS, 2016. http://www.theses.fr/2016EHES0145.
Texto completoFrom the foundation of the People's Republic of China (1949) to the eve of the Cultural Revolution (1966), artists were subjected to a dogma : art must serve the people. This imperative, which was constantly repeated, cause two subjections. For the artists, their status changed radically. To become artistic workers, they were obliged to submit to the ebb and flow of mass movements and political campaigns. For the artistic creation, the mission was to support and celebrate the new regime, and to educate the people. This research attempts to examine how the artistic policy of the Chinese Communist Party, by forcing the artists to be "red" before being "experts", disrupts and put the three kinds of paintings in competition : oil painting, Chinese painting (guohua) and New Year painting (nianhua). At the center of these disruptions, the question of the choice of realism is posed, especially the Soviet socialist realism, which was a unique response to the political expectations. Has this choice prioritized the legibility of painting to the detriment of its pictorial qualities ? Has it engendered specific visual models and codes to illustrate the new policy and the transformation of landscape, the representation of the people, or the celebration of the cult of Mao Zedong ? Or has this instrumentalization of painting met with the resistance or a way of escape, which has preserved some of the autonomy of painters ?
Pringuet, Virginie. "Vers un atlas de l'art dans l'espace public : la modélisation d'un musée réticulaire". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20006/document.
Texto completoPublic art, site specific, in situ art, Land art or museum without walls, various polysemic terms are used to designate the field of art in public space, much commentated but finally little documented. This thesis in Aesthetics and Digital humanities aims to account to the modeling process of a “reticular museum” for public art. The research project consists of two parts: a digital platform - the Atlasmuseum wiki site and mobile application - The application and the thesis itself. A review of several, national and international initiatives of public art maps, pioneering projects of digital inventories and online institutional collections has been conducted from a central question: how to design a museum structure for artworks located precisely outside the museum traditional perimeter? And consequently: how to model a contributory inventory tool in the context of cultural linked open data and the Semantic Web? Taking account of the immeasurable and heterogeneous corpus of public artworks, and through close and distant readings of a selection of contemporary public artworks (“1% for art in architecture” and public art commissions in France between 1951 and 2016), the thesis is built around the concept of a “reticular museum” connecting through their records hundreds of art pieces, artists and sites. Dedicated to public art inventory, through specifically designed notices, maps, atlases and visualizations, the Atlasmuseum platform aims to reunite on a contributory basis, curators, artists, computer scientists, art historians, librarians, art lovers, teachers and students. Atlasmuseum is based on the MediaWiki software enriched with the Semantic MediaWiki extension. It is a curatorial as well as a museological and museographical project. At the intersection of critical cartography, critical museology and anthropology of art, the thesis is structured in four parts. The first is devoted to the map as mediation between artworks and their sites. The map is examined from different points of view in order to sketch the outlines of a potential inventory tool for public art. The second part of the thesis aims to extend the initial assumptions by working a double shift of scale, from the map to the atlas and symmetrically from the inventory to the museum. Follows the “central” part of the thesis, which is a “printed” version of the Atlasmuseum platform in both formats (Web and mobile) and its four dimensions (exploration, contribution, research and semantization). In the fourth part, a close and distant reading of a specific collection of artworks (art pieces created for the tramway networks in France) is conducted through data visualizations. The hypothesis is that an ontological data visualization (using the CIDOC CRM model) can offer a new form of perception and apprehension of these artworks within their environment and context. Thus the thesis operates successive and retroactive landslides, from theory to practice, from artistic curating to data curation, from the map to the inventory, from the atlas to the museum and from the diagram to the network
Giancaspero, Laura. "L'art mural comme stratégie de survie des communautés rurales. Trois études de cas en milieu rural italien". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA158/document.
Texto completoThis thesis is focused on Italian mural paintings in rural environments. Through three case studies, it analyses artistic phenomenon as an expression of the ecological relationship between the local community and their environment. The study of this phenomenon, conducted by combining the geohistorical approach with American ecocriticism, reveals that these murals represent a response to the many fractures: territorial, identity and ecological, which have occurred in this rural area during contemporary times. All these changes, therefore, broke the centuries-old relationships that local communities maintained with their territory by threatening their own existence. This is a common phenomenon in Italy that has resulted in the abandonment of many rural villages. In the case of the three villages analyzed, the local population employed the mural art in order to reclaim their place and to redefine the relationship with their environment, which finally affirmed the survival of these small communities
Samson-Legault, Daniel. "La récolte diversifiée de feedbacks pour la détection de problèmes en rédaction journalistique (par l'utilisation d'un banc d'essai)". Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24265/24265.pdf.
Texto completoOrivel, Estelle. "Légitimité de l'intervention de l'Etat dans le domaine des arts : Rationalité des acteurs et optimum social". Dijon, 1997. http://www.theses.fr/1997DIJOE011.
Texto completoThe legitimacy of state intervention must be analysed through its capacity to bring the point of market equilibrium nearer from that of social optimum. The first ambition of this thesis is to focus on the dependency of the analysis on 1) rationality hypotheses concerning economic and political agents'behavior and 2) value judgements hidden behind criteria of social optimum. While rationality hypotheses of economic agents lead to the determination of market equilibrium, that is to the point reached concerning the consumption and production of arts, criteria of social optimum define the point to be reached. The gap between the two constitutes the failure of the market. The existence of market failures does not suffice however to demonstrate the legitimacy of state intervention. Indeed, the functionning of the state can, it too, be the subject of other kinds of failures. One must thus analyse, rather than the ideal functionning of the state, its actual functionning, whose characterisation depends, just like that of the market, on rationality hypotheses concerning the behavior of political agents. Finally, apart from the focus placed on the dependence of the analysis on rationality hypotheses and criteria of social optimum, a second original innovation consists in the implementation of a survey on a random sample of 987 french individuals. Its objectives are of two kinds: first of all, test some of the hypotheses concerning the characterisation of works of arts; second of all, establish the excess or insufficiency of the financial effort made by the state concerning the arts
Halas, Katarzyna. "De "l'état de guerre" à la nouvelle démocratie : cheminement de l'art indépendant en Pologne : de 1981 à la fin des années 1990". Paris 1, 2009. http://www.theses.fr/2009PA010606.
Texto completoDamon, François. "Les artistes vietnamiens contemporains. Traditions et singularités de 1980 à nos jours". Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1002.
Texto completoFrom a large opening of economy introduced in 1986 by the Doi Moi, which mans « change to the new », Vietnamese artists made a reform of the traditional artistic expression in term contemporary, with new technicals borrowed from Western Art. Deeply attached to the Vietnamese culture and to traditional crafts, they created works recalling their heritage and the opening to international contemporary art, to show in Vietnam and in various places of the world. They introduced a dialectical relationship between history and the present, to discuss, stating their singular nature, themes on society, tradition and politics.Through their question “open” in the meaning that Umberto Eco has given to this term, Vietnamese artists are now fully part of contemporary art, with the multiple practices (including video and installations) and the various theories
Branchut, Véronique. "Motivations et enjeux des expositions temporaires des musées des beaux-arts en France". Paris 1, 2009. http://www.theses.fr/2009PA010510.
Texto completoSandl, Marcus. "Ökonomie des Raumes : der kameralwissenschaftliche Entwurf der Staatswirtschaft im 18. Jahrhundert /". Köln : Böhlau, 1999. http://catalogue.bnf.fr/ark:/12148/cb38841678h.
Texto completoDirabi, Mhammed. "Les Dépenses publiques de santé au Maroc leur rôle dans le développement du système de santé publique /". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37604569p.
Texto completoLe, Pas de Sécheval Anne. "La politique artistique de Louis XIII". Paris 4, 1992. http://www.theses.fr/1992PA040180.
Texto completoDecroix, Arnaud. "Question fiscale et réforme financière en France, 1749-1789 : logique de la transparence et recherche de la confiance publique /". Aix-en-Provence : PUAM, Presses universitaires d'Aix-Marseille, 2006. http://catalogue.bnf.fr/ark:/12148/cb401962920.
Texto completoBibliogr. p. 571-623. Index.