Tesis sobre el tema "Artists' House"

The Owl House is situated in the Karoo village of Nieu Bethesda, and the person responsible for its creation, Helen Elizabeth Martins (1897-1976), is South Africa's best known Outsider artist. A number of newspaper and magazine articles, television programmes, radio interviews, play, films, short stories, theses and art works have resulted directly from her work. Interest in The Owl House continues to grow, with visitors coming from all over South Africa, and various parts of the world,to visit it. The Owl House was Helen Martins' home for most of her 78 years. During the last 30 or so years of her life she devoted all her time and energy to transforming the interior of her house into a glistening fantasy world of colour and light, using crushed glass stuck to almost every surface, coloured glass pane inserts in the walls, mirrors of many sizes and shapes, and countless paraffin lamps and candles. She called her garden' A Camel Yard', and filled it with over 500 cement statues, structures and bas reliefs. All the labour involved, apart from crushing and sorting the coloured glass, was provided by at least four different men, who assisted her over the years, Johannes Hattingh, Jonas Adams, Piet van der Merwe and Koos Malgas, though Helen Martins was the inspiration and director behind it all. Through a study of Helen Martins' background and life, and their effects upon her psyche, a rigorous attempt has been made to reach some understanding of why she became a recluse, and what caused her to create this unique body of work comprising her entire domestic environment. She became increasingly asocial as her life progressed, and ultimately ended it by committing suicide in 1976. Through the universality of symbolism, the meanings of the subjects, themes and concerns which she chose to depict are studied. Then, together with some knowledge of her life and personal influences, an attempt has been made to deduce what it was that Helen Martins was trying to express and work through in her creations. This study also led to an awareness of the fact that, although each one is unique, there are many examples of Outsider Art throughout the world. Fundamentally, creators of Outsider Art remain asocial in relation to their cultural milieu and cultural context. Some other examples of Outsider Art, both in South Africa as well as in Europe and India, were visited, and are described and compared with The Owl House as well as with one another. The way in which society reacts or responds to Outsider Art and its creators is studied through the comprehensive records of one specific case which caused great controversy in Johannesburg during the 1970s. Ultimately, working alone or with assistance, it is the Outsider artist who is the driving force behind these unique works, and whose indefinable inner fire of passion alone makes it possible to bring them into being. It would seem that the fascination with Outsider Art is that through their work, creators allow others a glimpse into a different sense of reality which is both mysterious and inexplicable.

The current shortage of artisans in the Nigerian house construction sector has constrained the productivity of the sector and exacerbated the nation‟s housing problem. The persistent neglect of the artisan training system has negatively impacted on the stock of artisans available for house construction projects. Nigeria‟s large and fast-growing population of over 140 million with an estimated growth rate of 3.2 percent has engendered increased investment in shelter provision; especially by individuals and families due to fast rising housing rentals- mainly in the urban centres. Past policies have not adequately addressed the realities of the skills crisis occasioned by inadequate and neglected apprenticeship training and poorly developed vocational education and training systems. The fallout of this is manifested in the difficulties faced by developers in sourcing suitably qualified and experienced artisans for house construction projects. In response to this challenge, an upsurge of migrant artisans and craftsmen from neighbouring West African nations like Togo, Benin Republic and Ghana to Nigeria has occurred in the recent times. They were attracted by building contracting firms to fill the gap created by inadequate artisan supply that is currently being experienced locally. This development is totally unacceptable as it exacerbates the overarching socio-economic problems in Nigeria, especially the already high unemployment rate which is estimated to be 23.9 percent. This study has consequently investigated the inadequate training of house construction artisans in South Western Nigeria; evolving interventions and developing a strategic model for improving the artisan training system to ensure an adequate and sustainable artisan supply in the house construction sector. The model incorporates best practices, rethinking strategies and integrated approaches in mitigating the identified challenges. The model is underpinned by reviewed literature and empirical findings. Quantitative surveys and interviews were utilised as the data sources. The research findings show that the factors which negatively impact on the artisan training system in the house construction sector include: the poor image of artisans in society; lack of recruitment strategies for attracting potential artisans; inadequate policy framework for training and employment; a faulty and rigid National Qualification Framework (NQF); the non-participation of employers in training; a poor funding mechanism; a weak regulatory framework and corrupt practices in training administration. Recommendations for addressing the inadequate training of artisans include education policy reforms to give priority to vocational education; a new regime of funding for vocational education and training; a review of the National Qualification Framework to integrate the vocational colleges with the university system; a reform of the regulatory framework; public re-orientation on the societal image of the artisans; adoption of a new approach of public- private partnership in artisan training; the provision of incentives schemes to attract potential artisans and the appropriation of the proposed model for an integrated approach to addressing the challenges.

A Casa Bettega, projetada em 1949 para um médico e sua família em Curitiba, é pouco citada em publicações e nos causa estranheza por nunca ter sido comentada por seu autor. O caixote modernista em concreto e vidro ultrapassou as barreiras do tempo. Não foi demolida, como as outras seis na terra natal de Artigas; seu desenho, seis décadas depois, ainda faz valer o discurso do jovem arquiteto comunista, traduz seus discursos e inquietudes teóricas, ao mesmo tempo em que revela o domínio sobre técnica daquela época, sempre somados às gentilezas que o arquiteto propunha nas moradas que construía, e, neste caso, um sopro do conhecimento do jeito de morar no Paraná. Materiais simples e regionais, de execução precisa, permanecem íntegros conservando a original magia de luz e cores. A Casa que nasceu no período burguês da cidade, mesmo momento em que Artigas projetava sua segunda casa em São Paulo. Um grande experimento que deu certo; podemos reconhecer facilmente algumas sementes lançadas ao futuro, que se transformaram em paradigmas de uma arquitetura, nem curitibana, nem paulista, mas brasileira. A Casa Bettega, restaurada em 2004, é objeto deste estudo. Como procedimento foi realizada uma desmontagem de seus paradigmas como um processo adequado para a elaboração das análises, estrutural e compositiva, presentes no projeto e ainda uma desmontagem de forma icônica.
A House projected by Vilanova Artigas for a physician and his family in Curitiba in 1949 receives very little attention in the publications as well as being strange that it never commented on by its creator. The modernist concrete and glass box surpasses barriers of time. It was not demolished like the other six in the native land of Artigas. Its design, six decades later, still validates the discourse of the young communist architect and translates his theoretical discourses and temerity, and at the same time reveals his dominance over the technique at that time, always together with the kindnesses that the architect proposes for the homes he builds, and in this case, a whisper of knowledge of the manner of living in Paraná. Simple and regional materials that are easily executed still remain whole, conserving at any price the magic of light and color. The House that was born during a bourgeois period of the city, and at the same time, Artigas projected his second house in São Paulo. If it was a huge experiment it worked out, and we may easily see in it some seeds launched into the future that were transformed into paradigms for a type of architecture, not from Curitiba or São Paulo, but truly Brazilian. The Bettega House, restored in 2004, is the object of this study.

As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.

En beskrivning av ett borgarhus i trä från 1700-talet, tillika grafisk verkstad för konstnärer. Huset Krogen Amerika i Linköping är ett av de äldsta trähusen som är bevarat på sin ursprungsplats. Det sätts här in i en historisk och socialhistorisk kontext. Syftet är framförallt att beskriva hur konstnärsföreningeen " Krogen Amerika- Grafikcentrum i Östergötland" bildades och flyttade in sin verksamhet i det gamla huset. Här ges också en förklarande teori om hur föreningslivets höjdpunkt, grafikens uppsving som konstform och rivningsvågen i Sverige under 1960-1970-talet sammanstrålade och gav upphov till att flertalet konstnärdrivna föreningar bidrog till att rädda äldre byggnader från rivning. Vidare fastställs även varför just kulturaktörer är en exemplarisk grupp vad gäller bevarandet av äldre hus på sin ursprungsplats.

João Batista Vilanova Artigas (1915-1985) formou-se engenheiroarquiteto em 1937, até a década de 1960 projetou principalmente residências unifamiliares, quase sempre na cidade de São Paulo. Somente a partir de então teria a oportunidade de projetar e construir também edifícios de uso coletivo ou público como clubes, hospitais, universidades, estações, etc. As casas unifamiliares, de um ou dois pavimentos, localizadas na cidade de São Paulo, nos bairros jardim, se situam em terrenos de dimensões reduzidas e estão fortemente condicionadas pelas normas urbanísticas. Artigas fez de sua condição inicial de arquiteto de casas uma virtude e converteu o ato de projetar o habitat em um laboratório de experimentações. Acabou assim destilando um amplo repertório de soluções espaciais, construtivas e de distribuição, tornando suas residências obras emblemáticas e constituintes de um evidente discurso sobre a relação entre a casa e a cidade. Têm especial interesse, como argumento principal da dissertação, a consolidação dos paradigmas da casa e formação dos tipos, que logo seriam aplicados na produção dos projetos de dimensão coletiva e edifícios públicos, obras que passaram a dominar a pauta do arquiteto da maturidade até o final de sua produção. É também a oportunidade de refletir sobre a casa, o edifício público e suas relações com a cidade e a urbanidade que aí surge. Propõe-se o entendimento desse processo de mudança de escala e permanência de significados e valores, como um amálgama que dá unidade à obra de Artigas.
João Batista Vilanova Artigas (1915-1985) graduated as an architect-engineer in 1937, designing until the 1960s mostly single-family houses in the city of São Paulo. Only thereafter did he have the opportunity to design and construct public buildings, such as clubs, hospitals, universities, stations, etc. Single-family houses, with one or two floors, located in the cite jardin areas of São Paulo, lie on limited lands and are strongly restricted by urbanistic regulation. Artigas turned his starting point as a house architect into a virtue and converted the act of designing habitats into an experimental laboratory. Consequently he ended up mixing a wide range of spatial, constructive and distribution solutions, making his residences emblematic works of art and constituents of a clear speech on the relationship between house and city. The main objective of this dissertation is the consolidation of the house paradigm and formation of types that would soon be applied on projects of collective dimensions and public buildings, works which would dominate the mature architect\'s agenda until the end of his productions. It is also the opportunity to reflect about the house, the public building and its relations with cities and the urbanity that arises. This dissertation also proposes understanding the change of scale and conservation of meanings and values as an amalgam that gives unity to Artigas production.

Dissertation (BA--Art and Design) -- AUT University, 2008.
Includes bibliographical references. Also held in print (126 leaves : ill. ; 22 cm + 1 DVD-ROM) in City Campus Theses Collection (T 779.4 COV)

El objeto de estudio del trabajo titulado Variaciones sobre la Bye House de John Hejduk es la casa Wall House 2; proyectada entre 1972 y 1974 para la ciudad de Ridgefield, en Connecticut (U.S.A), y construida sobre el año 2000 en la ciudad de Groningen, en Holanda. Se dedican dos capítulos para analizar la Wall House a partir del material publicado en Mask of Medusa y Five Architects. Los capítulos se titulan "Presentación de la Wall House 2 (Bye House) de John Hejduk" y "Una visita a la Wall House 2 de papel". En estos dos apartados, se pone en orden la información sobre la Wall House disponible en los documentos. En estos dos primeros capítulos la casa, de papel, es visitada a través de los libros donde aparece el proyecto. En el capítulo tercero, "Una visita a la Wall House 2 construida en Groningen", se describe la visita a la casa construida en Holanda. Se comparan las explicaciones sobre la experiencia en el interior de la casa con algunas explicaciones que Hejduk da sobre la experiencia arquitectónica. Se considera que la casa surge de un proyecto y de un proceso que la origina. En el capítulo 4, titulado "La Wall House 2 como instrumento musical", se compara el proyecto de la Wall House con algunos dibujos sobre instrumentos musicales que Hejduk plantea a los estudiantes de la Escuela de Arquitectura de New York. En este capítulo se introduce la concepción de la casa como un instrumento musical. Es, en parte, un prólogo al planteamiento de la tesis doctoral, es un preludio a la exposición, donde la Wall House empieza a presentarse desde la particularidad de la casa al compararla con la música. El capítulo siguiente analiza las relaciones que vinculan el proceso de la transformación de un cuadrado, sobre el cual se fundamenta la casa, con otros proyectos anteriores, como son las Texas Houses, las Diamond Houses y otras Wall Houses. El último capítulo, "La Casa para el Habitante que se Negó a Participar en la Wall House 2", es una continuación del anterior
Barberá Pastor, C. (2009). Variaciones sobre la Bye House de John Hejduk [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/37607
Palancia

Cette thèse étudie 2067 artisans de Venise, tous orfèvres mais pour autant très différents. Le regroupement et l’étude de tous ces individus nous permet de connaître, dans sa diversité, le fonctionnement d’une fraction de la classe artisanale. De la production sérielle d’objets anonymes et modestes à la vente de pièces d’exception, ces hommes constituent une chaîne économique, où la place de chacun est déterminée par ses origines, ses moyens, ses aptitudes et ses objectifs. Tour à tour, ils s’accommodent de leur position ou au contraire essayent d’évoluer, au gré du fonctionnement du marché et des possibilités ouvertes par leur réseau. L’orfèvrerie vénitienne apparaît ainsi en évolution constante. Tous ces hommes sont ensuite inclus dans une famille, dans un réseau et dans un espace. Par les choix qu’ils font dans leur famille, la manière dont ils gèrent leur capital et leur réseau, ils révèlent le fonctionnement et les agissements de la classe populaire, ses préoccupations et ses modes de vie. Suivre leurs déplacements permet de comprendre le fonctionnement de l’espace vénitien. Le grand avantage de cette étude est de pouvoir raisonner sur un groupe défini, qui étudie à la fois les pleins et les creux, les hommes mentionnés dans les archives et les autres, ceux qui ne sont jamais nommés mais qui existent malgré tout. De plus, cette étude permet également d’établir des liens entre les sources de différentes natures et donc de mettre en relation les choix professionnels avec la situation familiale d’un homme, par exemple, ou inversement
This PhD study deals with 2067 Venetian craftsmen, all of them goldsmiths and nevertheless quite different from one another. Reconstructing these various careers side by side enables us to grasp the different manners in which a proportion of the working class really functioned. From the standard production of impersonal basic essentials to the sale of special items, these men form an economic network in which everyone’s position depends on origins, means, gifts and objectives.Sometimes they accept their position and sometimes they try to evolve, according to the market trends and to the possibilities available in their background. The Venetian goldsmith’s trade thus appears to change constantly. Besides, all these men are part of a family, a background and an area. The decisions they take in their family, the way they manage their financial affairs and their private and professional connections, give insights on how the working class functions, about their way of life, their concerns. Following their trips across the city enables us to grasp how the Venetian background operated.This study has the advantage of looking closely at the ups and hollows, at the men frequently mentioned in the archives and as well at those who seldom appear but exist nevertheless. Moreover, this study allows us to set up links between files of different kinds and to connect a man’s professional choices and his marital status for example, or vice versa

The varieties of decorative finishing of men`s suits used by the designers of the world Fashion Houses in their collections at the beginning of the 21st century have been studied. The main directions of development of decoration of men`s clothing and its main tendencies have been determined; the artistic means of decoration of men`s suits have been identified.
Досліджено різновиди декоративного оздоблення чоловічого костюма, які використовували дизайнери світових Будинків моди у своїх колекціях на початку ХХІ ст. Визначено основні напрями розвитку декорування чоловічого одягу, його основні тенденції; виявлено художні засоби оздоблення чоловічого костюма.

This qualitative study explores the impact upon Fine Art students at the University of East London of community art practice via its student 'Artist in Residence Programme'. Evidence from successful course applicants showed expectations to be a heightened confidence and broadened understanding of the potential role in society for art and artist. Whilst this was often so, post-residency findings also demonstrated significant impact upon understanding of educational 'distance travelled'. Drawing on student, staff and host accounts it is argued that the programme is more than a cultural / philosophical mechanism for creative investigation beyond the studio through non-specialist interaction and collaboration; as important as this may be. Crucially, it is a mechanism for educational and pedagogical reflection; for 'critical distance' facilitating awareness of creative and cognitive development, teaching and learning and Fine Art educational process. Whilst it addresses Contextualist concerns of need, life and work [Eisner], it is very much an Essentialist art issue of 'subject'; how this is framed contextually and institutionally and also how it is personally constructed and critically evaluated in light of cultural and educational comparison: higher education is not synonymous with institution but a 'process' potentially taking place anywhere [Barnett]. Amongst the themes addressed is the impact upon student development of The Three C's [Confidence, Competence and Context]; 'space' and 'place' and Transferable Skills. Stages of student development are presented along with 'Transferable' and 'Transitional' models of student practice, differentiated by the extent and impact of collaboration, lay discourse and 'other' educational environments. On a meta-level, implications for Essentialist / Contextualist philosophy are reviewed. Creative practice 'beyond the studio' demonstrates how residencies often precipitate not only profound shifts in understanding towards creative 'modus operandi', but also towards educational process and teacher / learner relationships. Collectively, this incurs reflection upon the effect of 'lay' dialogue upon cognition and the 'cloth of identity'. This then connects with debate upon a 'vertical' didactic and 'lateral' dialectic within teaching, informed by issues of 'criticism', artist / tutor 'presence', 'absence' and 'collaboration'. Drawing findings together, there are implications for studio pedagogy in terms of judgement, meaning and cultural authority. In sum, this research suggests that for many students, a rounded Fine Art education cannot be obtained solely within the confines of 'institution' or through the sole authority of the 'Specialist' tutor / art practitioner.

Denmark has one of the toughest immigration laws in Europe and legislation has become even tighter. Amid this political climate, a gleam of hope in the form of a refugee and asylum-seeker community centre was established. This centre is called Trampoline House and works to provide refugees and asylum-seekers a place of refuge, hope and community. Inside this centre, we find an art gallery, Centre for Art on Migration Politics (CAMP) dedicated to exhibiting artworks discussing questions of displacement, migration, immigration and asylum. The gallery, in partnership with Trampoline House, hosts events, workshops and talks that encourage cultural exchange between artists, users of Trampoline House and others.Focusing on a particular exhibition, Decolonising Appearance, curated by Nicholas Mirzoeff, that deals with migration and decolonialism, this study attempts to unpack the art gallery’s communication approaches in order to identify strategies for transformative dialogue and social change. Issues of how political and artistic practices intersect are discussed within the framework of voice and appearance (Appadurai 2004, Couldry 2010 & Arendt 1958). By focusing on appearance and re-appearance, this paper examines how notions of voice and capacity may inform the gallery’s decolonial artistic practices.The study finds that while CAMP has ambitions to create dialogue through strategies of artistic interventions, art events and an art gallery guide programme where participants are recruited from Trampoline House, there is a disconnect between what it strives to be, and what it is. Although the vision of CAMP is to build bridges and create cultural exchanges these are only successful to varying degrees. In order to succeed in this vision, the approaches must be more inclusionary and embrace a wider segment of society.

Com o objetivo de evidenciar o entendimento da preservação da arquitetura moderna como patrimônio cultural, o trabalho centrou-se no estudo de um grupo de obras residenciais de arquitetura moderna, realizadas no município de São Paulo entre os anos 1950 até meados dos anos 1970, que sofreram intervenções a partir da década de 1990. Essas intervenções originaram-se de projetos arquitetônicos contemporâneos que consideraram as edificações existentes como patrimônios arquitetônicos, mesmo que não sejam edificações tombadas pelos órgãos oficiais de patrimônio cultural (municipal, estadual e federal). A pesquisa, ao examinar alguns exemplos concretos (projetos específicos), refletiu sobre um campo disciplinar de atuação do arquiteto que vem crescendo ao longo das últimas duas décadas: a intervenção em edificações existentes visando sua recuperação, consolidação ou restauro. Para viabilizar o embasamento necessário à contextualização das obras e das análises realizadas, foi possível verificar o processo de consolidação da arquitetura moderna paulista, seja através de sua historiografia, seja através dos estudos que a caracterizam como patrimônio cultural, evidenciando as especificidades para sua salvaguarda, conservação e intervenção, além de examinarem suas relações com os critérios teórico-metodológicos vigentes. Através desses pressupostos, analisamos - com o apoio de diagramas, desenhos executivos e fotos - três casas ícones da arquitetura moderna paulista: residência Olga Baeta, residência Mário Masetti e residência Fernando Millan - a primeira de autoria de Vilanova Artigas projetada em 1957 e as duas subsequentes de Paulo Mendes da Rocha, projetadas em 1969 e 1970, respectivamente - a fim de ressaltar não só a importância desses projetos como Bens Culturais, mas procurando identificar instrumentos técnico-operacionais diretamente ligados ao campo da preservação e avaliar seus resultados.
Aiming to demonstrate an understanding of the preservation of modern architecture as cultural heritage, the work focused on the study of a group of modern architecture residential works, built in São Paulo from the 1950\'s until the mid-1970\'s, which were intervened starting from the 1990\'s. Such interventions are the results of contemporary architectural projects that considered the existing buildings as architectural cultural heritage, even if the buildings were not considered so by official agencies (municipal, state, and federal). The research, when examining some concrete examples (specific projects), reflected a disciplinary field of expertise of the architect, which has grown over the past two decades: the intervention in existing buildings, aiming at their renovation, consolidation, or restoration. In order to enable the necessary foundation to contextualize the work and the performed analyses was possible to verify the consolidation process of modern paulista architecture. This was done either through its historiography or through studies that characterize it a cultural heritage, highlighting the specifics for protection, conservation, and intervention, besides examining their relationships with existing theoretical and methodological criteria. Through these assumptions, we analyzed - with the help of diagrams, technical drawings, and photos - three iconic houses of modern paulista architecture: Olga Baeta Residence, Mario Masetti Residence and Fernando Millan Residence. The first residence was designed by Vilanova Artigas in 1957 and the other two by Paul Mendes da Rocha in 1969 and 1970, respectively. We aimed to emphasize not only their importance as Cultural Property, but to identify technical and operational tools directly related to the preservation field and evaluate their results.

Cette thèse étudie 2067 artisans de Venise, tous orfèvres mais pour autant très différents. Le regroupement et l’étude de tous ces individus nous permet de connaître, dans sa diversité, le fonctionnement d’une fraction de la classe artisanale. De la production sérielle d’objets anonymes et modestes à la vente de pièces d’exception, ces hommes constituent une chaîne économique, où la place de chacun est déterminée par ses origines, ses moyens, ses aptitudes et ses objectifs. Tour à tour, ils s’accommodent de leur position ou au contraire essayent d’évoluer, au gré du fonctionnement du marché et des possibilités ouvertes par leur réseau. L’orfèvrerie vénitienne apparaît ainsi en évolution constante. Tous ces hommes sont ensuite inclus dans une famille, dans un réseau et dans un espace. Par les choix qu’ils font dans leur famille, la manière dont ils gèrent leur capital et leur réseau, ils révèlent le fonctionnement et les agissements de la classe populaire, ses préoccupations et ses modes de vie. Suivre leurs déplacements permet de comprendre le fonctionnement de l’espace vénitien. Le grand avantage de cette étude est de pouvoir raisonner sur un groupe défini, qui étudie à la fois les pleins et les creux, les hommes mentionnés dans les archives et les autres, ceux qui ne sont jamais nommés mais qui existent malgré tout. De plus, cette étude permet également d’établir des liens entre les sources de différentes natures et donc de mettre en relation les choix professionnels avec la situation familiale d’un homme, par exemple, ou inversement
This PhD study deals with 2067 Venetian craftsmen, all of them goldsmiths and nevertheless quite different from one another. Reconstructing these various careers side by side enables us to grasp the different manners in which a proportion of the working class really functioned. From the standard production of impersonal basic essentials to the sale of special items, these men form an economic network in which everyone’s position depends on origins, means, gifts and objectives.Sometimes they accept their position and sometimes they try to evolve, according to the market trends and to the possibilities available in their background. The Venetian goldsmith’s trade thus appears to change constantly. Besides, all these men are part of a family, a background and an area. The decisions they take in their family, the way they manage their financial affairs and their private and professional connections, give insights on how the working class functions, about their way of life, their concerns. Following their trips across the city enables us to grasp how the Venetian background operated.This study has the advantage of looking closely at the ups and hollows, at the men frequently mentioned in the archives and as well at those who seldom appear but exist nevertheless. Moreover, this study allows us to set up links between files of different kinds and to connect a man’s professional choices and his marital status for example, or vice versa

This study is concerned with the roles and relationships between artists-in-residence, community audiences, and program coordinators/art educators as they engage together in community arts programs. This study takes place at Project Row Houses (PRH), a community arts organization located in Houston, Texas and focuses on the artist-in-residence program, which commissions a group of national and international artists for a 6-month period to create art installations in relation to the community and its African-American heritage. This ethnographic case study is based on the activities and events surrounding the 2008 PRH exhibition, Round 29, Thunderbolt Special: The Great Electric Show and Dance, after Sam Lightnin’ Hopkins and employed qualitative data gathering methods of participant-observation, conducting semi-structured, open-ended, in-depth interviews, and through document collection, and contextual information. Observations were recorded through field notes, photographs, and video. Interviews were conducted with 3 artists-in-residence, 3 community audience members, and 3 program coordinators or staff members involved with the program, regarding their experiences at the site and experiences with each other. My analysis presents the roles of artist, community audience, and program coordinator/art educator through three sections on cultural work. Within these sections I discuss topics related to the power of voice, situatedness, and creativity, as it relates to the artists and community audiences. For the role of program coordinator/art educator, I focus more closely on her role in the process of mediation. Topics of power, social dynamics, identity, and representation are also framed within these discussions.

Connu pour ses qualités de bibliophile, Louis bâtard de Bourbon se distingue aussi par sa proximité avec Louis XI, dont il épouse la fille bâtarde. Propulsé à un rang auquel sa naissance ne le destinait pas, il acquiert avec Jeanne bâtarde de France, à partir de 1465 et durant une vingtaine d’années, une série d’œuvres destinée à affirmer le rang et la puissance de ce nouveau couple princier. L’objectif de ce travail a d’abord été de reconstituer ce corpus, composé d’une tapisserie, un panneau peint, plusieurs manuscrits enluminés et une commande castrale, pour l’étudier ensuite en détail afin de mettre en évidence les interférences entre commande, réseau social, carrière d’officier dans le sillage royal et événements historiques susceptibles d’avoir pu interférer dans le choix des œuvres ou dans les modèles de référence retenus. Cet ensemble a été considéré dans sa globalité, récusant le cloisonnement disciplinaire traditionnel, afin de cerner au plus près le sens et la fonction des œuvres, au profit des approches stylistiques plus traditionnelles. L’étude a cherché ensuite à montrer comment les valeurs royales ont été assimilées par le couple, dans quelles circonstances, et à quelles fins. L’interrogation plus large du contexte de création a mis en lumière la place singulière prise par ce seigneur dans le jeu politique de Louis XI, tout comme celle de son épouse, dont le rôle longtemps négligé apporte un nouvel éclairage sur les échanges entre œuvres et artistes, actifs au sein de ce réseau
Known for his excellence as a bibliophile, Louis bâtard de Bourbon was also close to Louis XI, whose illegitimate daughter he married. Having attained a station well above that which his birth reserved for him, he and Jeanne batârde de France acquired, after 1465 and over a period of some twenty years, a series of works meant to assert the rank and power of this new princely couple. The object of the present work has been first to reconstitute this corpus, consisting of a tapestry, a painted panel, several illuminated manuscripts and architectural commissions and then to study it in depth in order to shed light on the interconnections between the commissions, the social network, the career of an officer attached to the throne of France and the historical events likely to have influenced the choice of works or of models to which these were expected to refer. This body of work has been studied as a whole without regard for the usual disciplinary separations and with an eye to defining as precisely as possible the meanings and functions of the works, thereby enriching the traditional stylistic approaches. This study then goes on to show how the couple assimilated the values of the monarchy, under what circumstances and to what ends. This examination of the larger context of creation has brought to light the unique role in Louis XI’s political strategy played by this nobleman as well as by his wife, whose long neglected role sheds new light on the exchanges between the works and the artists who participated in this network

Mitt första möte med en tiggande föranledde mig att under fem år undersöka den nya situationen för tiggeriet och giveriet i Sverige. Förutsättningen är att vardagliga handlingar och reaktioner gentemot en annan människa kan synliggöras estetiskt med en etisk klangbotten. Min undersökning utspelar sig i första hand i gaturummet och i medierna. Det är hela tiden bilderna som är utgångspunkten för resonemangen och de gestaltande verken. Bilder som både separerar och länkar samman kroppar. Vilka bilder är i spel i tiggeriets och giveriets sociala koreografi? Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Tiggandet är en uppmaning till social interaktion, och vare sig givaren socialt interagerar eller inte med den tiggande människan på gatan så involveras givaren i det europeiska samfundets asymmetriska värdesystem. I min första gestaltning anlitas en professionell marknadsundersökare för att ta reda på hur en tiggare i Sverige skulle kunna göra för att bli framgångsrik. Det blir en film som jag sedan visar mittemot en film där tiggande pratar om hur givare ger. Ur detta verk följer så en rad gestaltningar och en interdisciplinär teoretisk diskussion med bland andra Judith Butler, Sara Ahmed och Hannah Arendt, samt med en rad konstnärers arbeten, kring hur bilder – och kroppsliga handlingar – är kopplade till samhällsbilden och samhällskroppen? Körernas uppställning i gestaltningen Tiggandets kör och Givandets kör anger ett utrymme för social interaktion och demonstrerar därmed en annan ordning som kräver andra insatser, i språk, rörelse och attityd gentemot varandra. Det är en social koreografi: när körerna tränade och sjöng tillsammans uppstod en politisk form. Min förhoppning är att estetiskt synliggöra ett politiskt handlingsutrymme mellan tiggandet och givandet som kan utnyttjas för fortsatta etiska förhandlingar, och nya gestaltningar.
My first encounter with a begging person led me to spend five years investigating the new situation regarding begging and giving in Sweden. The premise is that every-day actions and reactions to another person can be made visible through aesthetics with ethical underpinnings. My investigation takes place mainly in the urban landscape and in the media. The images always constitute the point of departure for the reasoning and for the staged works. Images that separate as well as connect bodies. Which images are at play in the social choreography of begging and giving? In this context, how can images be activated in new ways? How can new images be generated? Begging is a call to social interaction, and regardless of whether the giver interacts socially with the begging person on the street, the giver is implicated in the asymmetrical value systems of the European Union. In my first staged work I hire a professional market researcher to find out how a beggar in Sweden should behave to be successful. This becomes a film that I then show opposite another film in which begging people talk about how givers give. This is followed by a number of staged works and an interdisciplinary theoretical discussion involving, among others, Judith Butler, Sara Ahmed, and Hannah Arendt, as well as a number of artistic works concerning how images – and bodily actions – are linked to the social image and the body politics. The arrangement of the choirs in the staged work The Chorus of Begging and The Chorus of Giving, indicates a space for social interaction and thus demonstrates a different order that demands different actions in terms of language, movement, and attitude toward each other. It’s a social choreography: when the choirs rehearsed and sung together a political form emerged. My hope is to make visible a space for action between the begging and the giving that can be used for continued ethical negotiations and new staged works.

Föreliggande doktorsarbete har genomförts och handletts i forskarutbildningen i Fri konst vid Konsthögskolan, Umeå universitet. Doktorsarbetet läggs fram vid Lunds universitet inom ramen för samverkansavtalet mellan Konstnärliga fakulteten vid Lunds universitet och Konsthögskolan Umeå angående utbildning på forskarnivå i ämnet Fri konst inom ramen för Konstnärliga forskarskolan.

This dissertation has been carried out and supervised within the graduate programme in Fine Arts at Umeå Academy of Fine Arts, Umeå University. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malmö Faculty of Fine and Performing Arts, Lund University, and Umeå Academy of Fine Arts regarding doctoral education in the subject Fine Arts in the context of Konstnärliga forskarskolan.

Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: Doctoral Studies and Research in Fine and Performing Arts, 14. ISSN: 1653-8617

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfillment of the requirements for the degree of Master of Arts in Film and Television, August 2017
Located in the town of Nieu Bethesda in the Karoo desert, the Owl House is a fascinating heritage museum that was once the home to outsider artist, Helen Martins. Much work has been created about the eccentric Helen Martins and her unusual home, and appears in the form of books, films, music and plays. The content of these works follow a similar pattern, and it is the aim of this research and film to explore a less literal interpretation of the Owl House, and its creators, Helen Martins and Koos Malgas. The Owl House is re-imagined through the lens of an experimental essay film, juxtaposing footage of the creative eastern imagery of the Owl House (in South Africa) with actual footage of the east (India, Thailand and Laos). In exploring these binaries, an investigation of theory of the landscape, home, mobility and hermeneutics takes place. Furthermore, these theories and concepts are looked at in relation to the politics of an apartheid, and later, a democratic South Africa. The Owl House is therefore analysed as the collaboration of the white, female Helen Martins, and the coloured, male Koos Malgas.
XL2018

The contemporary ecological debate embodies diverse opinions reflecting the complexity of information available. The museum has recorded the history of human-nature relations, and has influenced ways in which meaning has been assigned to nature. Its influence over the interpretation of objects has been critiqued by 20th century artists and postmodern theorists. However, the museum also continues to engage and inspire some artists, and this research uncovers reasons for this. This research investigates the ways in which contemporary sculpture can employ museum aesthetics to draw attention to flexible and uncertain meaning regarding ecological issues. It is undertaken in two parts. The first, the studio work with an exegesis of 8,000 words, investigates two particular sites and applies museum methodology to sculptures inspired by those environments. The work is supported by a dissertation of 18,000 words researching the work of Mark Dion and Fiona Hall. Both of these artists appropriate museum aesthetics in order to demonstrate that meaning is flexible and engage the viewer in the interpretive process. The studio research culminates in two bodies of work related to the two sites chosen, using the aesthetics of cultural artefacts, natural specimens, and skeleton galleries found in museums of natural history and ethnography. The form and materiality of these objects intends to defy didactic interpretation. The dissertation reveals that, as a result of its history, the museum is a house of wonder and mystery. The examination of Dion's and Hall's works demonstrates their use of postmodern strategies to both challenge the museum and exploit its potential as a house of wonder, and ultimately to engage the viewer's curiosity and active interpretation.
Vol.1: Dissertation -- vol.2: Exegesis.

“The Artist as Curator: Diego Velázquez, 1623-1660” reconsiders the career of Diego Velázquez at the court of Hapsburg king Philip IV as a major episode in the history of curatorial practice. By this it means to examine the ways Velázquez’s activities as a painter and his activities as curator of the Hapsburg art collection transformed each other. Velázquez’s paintings express ambitions and attitudes towards his predecessors that would motivate Velázquez’s reorganization of parts of the royal collection that included their works. In turn, the collection and display of paintings in royal exhibition sites would cultivate in Velázquez a knowledge of art and its history that would inform the paintings he produced at court. Velázquez was a singularly art-historical painter, many of whose works investigate the nature of art itself. This dissertation seeks to prove that these aspects of Velázquez’s work were cultivated in the early modern museum that was the Alcázar palace, where he was surrounded by a veritable history of art under the Hapsburgs. The dissertation has five chapters; each closely examines a significant project in Velázquez’s trajectory as artist-curator at the Hapsburg court. The first uses the first major installation that Velázquez would witness at the Hapsburg court to set up the problematic of the dissertation as a whole - namely, that meaning was made on the walls of galleries, and that if Velázquez was going to make his name at court, it would be by engaging the royal art collection as it appeared on gallery walls. The second investigates Velázquez’s first curatorial project, the redecoration of the Octagonal Room; it argued that Velázquez’s interest in art itself—an interest characteristic of his painting practice—found a new medium in his work as curator of this gallery. The third chapter reexamines The Rokeby Venus as a function of what Velázquez witnessed over the course of the assembly of the Vaults of Titian, where paintings of nudes were exhibited all together; it thus demonstrates the impact of the royal art collection and its display on his creative imagination as a painter. The fourth chapter considers the culminating curatorial project of Velázquez’s career—the redecoration of the Hall of Mirrors—in tandem with the suite of paintings he made for it—the painting cycle including Mercury and Argus, examining the ways that these two projects mutually informed one another. The final chapter proposes that Las Meninas again evidences Velázquez’s curatorial and painterly imaginations at work simultaneously; then it uses the painting as a point of entry into the reception of both of these aspects of Velázquez’s work at the Hapsburg court, arguing that to make art after Velázquez was to acknowledge both. All together, these chapters tell the story of Velázquez’s increasing engagement with the royal art collection, from the start of his career at the Hapsburg court through his legacy beyond it.

In 1997 the University of Victoria began to develop a vision for a First Peoples House with the objective of constructing a welcoming Coast Salish home on the university campus. This vision was realized in 2009 when the First Peoples House opened to the university community and public. Goals stemming from early discussions of a First Peoples House included a house that would support Indigenous culture, community events, and showcase Indigenous art. The First Peoples House represents a case study of how Indigenous artists and their material culture intersect with new Indigenous architecture. This paper is a supporting document to accompany a documentary film showcasing Indigenous artists and key players who participated in the development of the First Peoples House. The purpose of this paper and film is to document developmental stages of the First Peoples House that includes material culture—“art”—embedded within the architecture of the house. Nine interviews include the artistic vision of six artists whose work is represented in the house, and three individuals who were involved in early developmental and current phases of the First Peoples House. The research is placed in a historical context respecting the relationship between Indigenous architecture, residential schools, space and place and material culture. Film adds another dimension to the scope of this paper. Together, the paper and film form a visual and critical analysis highlighting historical shifts along with contemporary understandings of cultural narratives, material culture, Indigenous culture and architecture as integrated within the First Peoples House at the University of Victoria.
Graduate

碩士
國立體育大學
競技與教練科學研究所
102
Taiwan from the past to now, pommel horse project has been a breakthrough in the international community on the achievements, but also to promote Taiwan's coaches and players of the pommel horse project as a key development projects, in this article to collect information about the training pommel horse project, the integration of basic training and tough action training, cross training and special strength training and motion analysis technology, step by the training of basic motor training and stunt development, and training will also use some auxiliary equipment and manpower assisted ways to assist players to learn, in addition to some technical analysis through more Fast motion technology to master the essentials to achieve a multiplier effect. In this study, training pommel horse project is divided into five chapters :(a) basic horse training into action and the whole leg spin, the whole spin Legs, single ring and the whole leg spin, and spin training step by step through the whole leg mushroom dish and short Trojans training step, then the sub-leg spin training methods to explore the whole action substantive use by coaches coach and players assist mode reference during training, then auxiliary suspended aid training mono- and lower extremity leg height allow full rotation fixed focus single force in the upper support ring training, most of the players in Men's Artistic Gymnastics pommel horse project will be implemented in all, by a single ring and leg full rotation movements, the development of more and higher monocyclic difficulty action, namely D, E, F, G and other difficult moves, pommel horse project can effectively enhance the whole difficulty points. (b) Methods of stunt training before the full rotation into longitudinal and leg, after 720-degree shift and two Russian cyclotron motion and single-hand operation support supinating 360 degrees, four difficulty movement training are to use auxiliary gyrator After aided training before starting to implement action training. (c) Cross-group movement is one of the essential elements of horse the whole operation, the current foreign players have to cross an inverted cross with positive anti-cross D group difficulty mainly Taiwanese players in terms of technology is more cross inadequate compared to through positive and negative inverted cross from training methods to explore the process of action, but also to the entire horse choreography presented more range of motion and growth, is the focus of the entire project in recent years Taiwan horse choreography. (d) Project action pattern horse needs to have some muscles standards required by horse upper limbs, front and additional strengthening muscle, divided into fixed and mobile two, fixed way of training is to enhance the support arm The strength of each muscle, mobile training methods it can increase the dynamic traveling players moved the center of gravity on the body, the shoulder top shoulder coordinated control technology. In addition, abdomen, strengthen the back muscles are also the focus of special strength training through dynamic (hanging leg raise or backward kick) and static (pitching posture weight) training aid to enhance the abdomen, back muscles muscle strength, increase movement stability and amplitude can help extend the body in the saddle of project implementation easier. (e) Technical analysis of movements and the whole leg spin Both Russia 720 degree swing one-handed operation and support supinating 360 single-hand operation and a plan to support 360-degree reversal technical analysis operation, through body weight, shoulder and hip joints analysis and other techniques to help improve the operation of the success rate of implementation of the action. Keywords：Gymnastics,Pommel horse,Training Practice

碩士
國立臺灣師範大學
體育學系
93
The Purposes of this study are to understand how the winning factors on Men’s Artistic Gymnastics of Pommel Horse influence the Final Scores, and to discuss the exercise of Bonus Points of Chinese Taipei gymnasts in Apparatus Finals. Subjects of this study were eighty-seven gymnasts who participate in qualification of the Pommel Horse. A multiple statistical analysis and the measures of literature research were used in this study. After discussion, the conclusions of this study show as follows: 1) The judges’ evaluation shows its accuracy with Reliability, Validity and Objectivity. 2) Most of the Start Values and execution deduction scores are higher to consistence and steady. 3) Different Start Values and execution deduction scores show the significant differences toward final scores. Higher Start Values and lower execution deduction scores make high final scores. 4) The execution deduction scores have the best explanation. The explanation of the execution deduction scores is better than Start Values; therefore, the execution deduction scores took the advantage in the qualification. 5) In the winning factors of Gymnastics: 「Difficulty, Originality, Insurance, Elegance」, the exercise of the Pommel Horse taken by two Chinese Taipei gymnasts reach the requirement of 「Difficulty」. However, they should reinforce their performances in「Insurance and Elegance」. The gymnast, Lin Hsiung-wai developed the whole area of the elements and his movement arrangement reach the requirement of 「Originality」. According to what mentioned above, the concrete suggestions are as follows: 1) The main training points of the coach, besides grasp the rules, should put emphasize on the beauty of the movement. 2) The development of the gymnasts’ routine should head for the trends of diversity.

Artistic research is a relatively new and understudied topic in scholarly communication within Library and information science. This knowledge deficit, combined with ill-fitting systems and categories, maintains the status of artistic research as something mysterious and different. As a result, knowledge produced through artistic research may not be justly represented in the academic infrastructures, and not be made available with the same integrity as traditional research output. The aim of this study is to map the publishing landscape of artistic research in Sweden and to describe how outputs of artistic research relate to current academic infrastructures. An inductive analysis of the units of academic output listed by the researchers themselves as publications of research shows how they are represented in, and outside of, the archiving systems. The analysis is supported by document theory, Kuhn's theory of scientific paradigms, and the classification theory of Bowker and Star. Findings suggest that publishing practices on the level of each project are influenced by institutional affiliation. Researchers are forced to a trade-off between statistical visibility in institutional repositories and coherent content visualization in extra-institutional channels. The institutional infrastructures designed for traditional output lack guidance for artistic output, which results in in consistency in registration, poor quality of representation, and inconsistent metadata. Channels outside of the institution lack discoverability and statistical visibility.

A desigualdade entre sexos tem sido uma realidade nas sociedades ocidentais desde a sua formação. Tem também sido um ponto de discussão e luta na sociedade há vários séculos. No entanto, foi apenas na segunda metade do século XX (durante a segunda vaga do feminismo) que a questão da discriminação das mulheres ganhou visibilidade na sociedade, levando a mudanças profundas dos paradigmas sociais. O mundo da arte não foi imune a essas mudanças, tendo sido profundamente afetado pelo feminismo e pela forma como este se expressou a nível da produção e teoria artística. Na primeira parte deste trabalho, é apresentado um enquadramento teórico que permite entender o impacto que o feminismo teve no mundo da arte e na mudança da posição subalterna que nele a mulher tem tido. A segunda parte foca-se na atualidade do mundo da arte contemporânea em Portugal. Tendo como pano de fundo a reflexão teórica da primeira parte, a par de uma comparação dos dados estatísticos portugueses com dados do mundo da arte ocidental (Europa e EUA), este trabalho apresenta dados quantitativos e qualitativos que permitem concluir que, apesar das melhorias das últmas décadas, as artistas mulheres ainda representam uma minoria. Através da análise dos dados de várias instituições e das entrevistas realizadas, este trabalho pretende oferecer um panorama geral e atual que permita uma reflexão sobre a discriminação da mulher e de que forma esta pode ser combatida.
The inequality between sexes has been present in western society since its formation. It has also been a topic of discussion and conflict during the last centuries. However, it was only during the second half of the 20th century (during the second wave of feminism) that the issue of women's discrimination became a relevant issue in society, changing social paradigms in a profound way. The art world wasn't imune to these changes and was deeply affected by feminism and its expression in artistic production and theory. The first part of the thesis presents a theoretical framework that allows for a deeper understanding of feminism's impact on the art world and the changes on the secondary position attributed to women. The second part focuses on the current situation of the Portuguese contemporary art world. Taking the theoretical reflexion presented in the first part of the thesis as a background, as well as a comparison between Portuguese and Western statistical data, this work presents quantitative and qualitative data that allows us to understand that, despite improvements over the last decades, women artists are still a minority. Through the analysis of the data of several institutions, as well as interviews, this thesis aims to present a broad and current perspective as well as a reflection on the issue of women’s discrimination and on how it can be fought.

La casa dell'intellettuale quale cardine dell'abitare ideale per l'uomo della sua epoca. Lettura comparativa della casa del Mantegna e di Castel del Monte di Federico II di Svevia attraverso le categorie della Composizione, della Soglia e del Paesaggio. The house of the intellectual as the cornerstone of the ideal living for the man of his era. Comparative reading of Mantegna's house and Castel del Monte of Frederick II of Swabia with the categories of Composition, the Threshold and Landscape.

Дисертацію присвячено вивченню актуальної проблеми мистецтвознавчого аналізу дитячої моди в Україні ХХ – початку ХХІ ст. як складової сучасного українського дизайну.
The dissertation is devoted to the study of the actual problem of the art analysis of children`s fashion in Ukraine in the 20th century – at the beginning of the 21st century as a component of modern Ukrainian design.

Os ambientes decorativos onde todas as artes se harmonizam, integram-se num quase esquecimento. Alguns ambientes do Romantismo por nós estudados chegaram intactos aos dias de hoje. Infelizmente, outros foram vítimas de partilhas entre herdeiros e da insustentável manutenção das grandes casas. Frisamos bem a reforma inevitável nos ambientes do século XIX porque a mudança de hábitos tornou imprescindíveis novos compartimentos temáticos e objectos multifacetados para os decorar. O respeito pelos ambientes românticos não foi o esperado, até porque a fugaz evolução de gosto, aliada às contingências da sociedade de consumo, arrasou a sua autenticidade. O facto de serem revivalistas pôs em causa a antiguidade. Vamos procurar entendê-lo através dos ambientes românticos apresentados, pois terá chegado a altura de melhor olhar este «estilo novo» ainda considerado de gosto duvidoso e cuja inspiração proveio dos ambientes régios. No Norte de Portugal, não faltam casas com ambientes característicos deste período. Pena que não se dê o valor da história a um Romantismo que se mantém vivo. As artes oitocentistas vão buscar influências a todas as épocas, recriando o passado mais remoto, com o saber artístico, sócio-cultural e já industrializado de então. É esta aprendizagem que nos interessa focar, na medida em que mudou o rumo do estar, viver e sentir a partir de um recuo feito até à Idade Média. Repensando a existência, retirando e acumulando saberes anteriores, o século XIX evoluiu como o resumo das artes e ciências com interpretação própria. Compreendemo-lo não apenas no contexto de ser a grande era das mudanças e invenções mas, quase isolado, à mercê dos olhares e especiais sentires de cada indivíduo inserido numa dada família e camada social. A região pode fazer a diferença e não por acaso nos debruçamos sobre ambientes de casas nobres do Norte de Portugal. Parece-nos óbvio que a região acima do rio Douro, historicamente mais fechada e isolada na sua vida privada – sem esquecermos toda a zona duriense e Beira Alta –, tem melhor conservado valores e tradições ancestrais no seio das suas famílias nobres. Pela velocidade das modas, circulação de bens e famílias, adesão a estrangeiros e estrangeirismos, centralização do poder, Lisboa acabou por ser penalizada no que respeita a ambientes oitocentistas intactos. Resta-nos como referência a decoração do Palácio Nacional da Ajuda, provavelmente única no género pois até a decoração do Palácio das Tulherias foi destruída pela comuna de Paris em 1871. Sem esquecer o Palácio da Pena, considerado em 2007 uma das maravilhas de Portugal, o que atesta a popularidade actual destes ambientes. Em casas civis, os ambientes continuam abertos ao estudo não se distanciando do comportamento, gosto e viver de uma sociedade sensível ao mais variado tipo de manifestações artísticas. As casas apresentadas distinguem-se entre rurais e urbanas, sendo mistas em alguns casos, na medida em que confirmamos que «não há uma família urbana como não há uma família rural». As casas nobres de Guimarães têm algum destaque nesta nossa dissertação pois, inicialmente, pensamos debruçar-nos sobre ambientes vimaranenses em exclusivo. A abundância, originalidade e riqueza histórico-artística de exemplos a Norte do rio Douro fizeram alterar o nosso rumo, que se estendeu a outras localidades. A nossa dissertação serve de homenagem ao movimento romântico e de elogio àqueles que respeitam a sua memória, continuando a amar os ambientes destas casas, erigidas ou apenas intervencionadas em Oitocentos, que encontramos descritas nos romances e opiniões de escritores notáveis como António Augusto Teixeira de Vasconcellos, Camilo Castello Branco, Eça de Queiroz. São eles que perpetuam os modos, gentes, vivências, preconceitos (e conceitos), aromas de tempos onde o passado nunca ficou perdido. Partindo do geral, e de uma caracterização abrangente, destacamos seis dos exemplos que nos pareceram relevantes em termos de ambientes decorativos românticos em casas nobres susceptíveis de exercerem uma influência relevante na época. Num plano mais específico e estrito, estudamos ambientes de outras casas, dispersas pelo Norte português, aos quais fazemos referência. Acresce ao interesse destes espólios, característicos do acervo de famílias de nobresa fidalga e burguesa (alguns dos quais já desmantelados), a descrição de bens – o que nos transporta para a realidade das grandes casas da Nobreza da Corte, fazendo apelo para uma nobreza em ascensão desde a segunda metade do século XVIII. Após a pesquisa de casas nobres, destacamos tanto ambientes preservados como recentemente desmantelados com partilhas. Consideramos as casas de Villar d` Allen e Visconde da Gândara (no Porto), Carmo, S. Cipriano e Sezim (em Guimarães) e Boavista (em Ponte da Barca), como exemplos a relevar. Villar d` Allen, apesar de ter sido remodelada inicialmente por João Allen, foi seu filho, Alfredo Allen, 1.º Visconde de Villar d’ Allen, que a transformou no museu vivo de curiosidades ligadas à família e de naturalia, que se mantém. De todas as estudadas, Villar d’ Allen é, porventura, uma das mais românticas na medida em que conserva todas as memórias e intervenções. A casa neoclássica erigida, no Porto Oriental, pelo 1.º Visconde da Gândara apresentava já aquecimento central por meio de caldeiras num piso subterrâneo. A Casa do Carmo, ligada à família dos condes de Margaride, em Guimarães, e que recebeu os últimos reis de Portugal, encontra-se despida do seu recheio, que dispersou pela família. (Infelizmente, sofreu obras recentes que desvirtuaram os seus interiores.) No mesmo concelho, Nicola Bigaglia (1841-1908) foi chamado a intervir em São Cipriano depois de projectar a casa que é hoje conhecida por Museu da Quinta de Santiago, em Leça da Palmeira. Ao medievalismo primitivo acrescentou estéticas decorativas e arquitectónicas já enraizadas num Romantismo maduro que influenciou as primeiras décadas do século XX. Comparamo-la à Quinta de Pindela, cuja casa sofreu um último restauro e alargamento em 1885, operados pelo 2.º Visconde de Pindella, amigo pessoal de João Santiago (senhor de S. Cipriano) e pai de D. Júlia do Carmo, casada com um filho do 1.º Conde de Margaride que remodelou a casa para receber as Majestades. Também em Guimarães, distinguimos a possível contribuição do gosto de Auguste Roquemont (1804-1852) no papel de parede dos salões da Casa de Sezim. Este artista passou grandes estadas na referida localidade, deixando a sua marca por várias habitações que visitava como amigo e filho bastardo de um príncipe alemão. Já os ambientes da Casa da Boavista, em Ponte da Barca, foram concebidos em finais do século XIX por Bento Malheiro Pereira Pita de Vasconcelos, 4.º Visconde da Carreira. Apresentam gosto inglês, aparentado com Villar d’ Allen, sendo uma sua característica a farta luz proveniente das amplas aberturas que permitem o convívio com a natureza. A inspiração proveio da Casa da Carreira, dos Távora de Viana do Castelo, actualmente sede da Câmara Municipal. As obras oitocentistas foram realizadas em simultâneo, tendo os proprietários recorrido aos mesmos artífices. Nesta nossa dissertação importa-nos focar, como um todo, as artes decorativas no domínio privado que circulavam dos interiores para os exteriores com alguns elementos que permaneciam de tempos passados em viagem até à Idade Média. Foram elas produzidas em Portugal do século XIX e, já antes na Europa, pois a realidade nacional é sempre um reflexo tardio das tendências europeias. Se bem que, nesta época, muitos casos havia em que a moda ditada em Paris era logo seguida em Portugal. O expor bem, no sentido estético e na vontade de reter o olhar, não era significativo. O expor muito passou a ser um ideal – como acontece em Villar d` Allen, onde se voltou a constituir um pequeno museu de peças íntimas e memórias vivas, em homenagem a João Allen. Nos jardins, encontramos casas de fresco que se enquadram na arquitectura paisagística de formas ora geométricas ora pretensamente espontâneas. Salientamos os jardins labirínticos setecentistas do Paço de S. Cipriano, adaptados ao gosto romântico. A sua Casa de Manteiga é mesmo de arquitectura de raiz renascentista. Foi transportada para junto do tanque setecentista, com aranhões em forma de leão, em inícios do século XX. Nos próprios arbustos ou espécies arbóreas, talham-se esconderijos semelhantes a grutas onde se serviam bebidas exóticas como chá, café e chocolate. Os jardins e mata de Villar d` Allen, formados a partir de várias quintas, estão mais relacionados com o espírito romântico com percursos sinuosos, quase selvagens, pontuados por elementos arquitectónicos. Os jardins de Sezim ficam mais próximos deste ideal inglês onde as instalações da natureza, na natureza, beneficiavam de maior liberdade. De entre as espécies exóticas ressalvamos as cameleiras ou japoneiras trazidas para Portugal desde os Descobrimentos (primeiro da China, depois do Japão) que resultaram em espécies com nomes portugueses, como em Villar d’ Allen. Em termos dos arquivos existentes nas casas abordadas, deparamos com uma situação lacunosa. Não podemos afirmar que a documentação escasseie, pois a maior parte das casas estudadas tiveram a fortuna de se manterem no seio das mesmas famílias e de serem estimadas. No século XIX e inícios do século XX, havia uma real preocupação em acumular memórias e documentos (cartas, postais, recibos, cadernos de contas) e, destes arquivos desorganizados, dispersaram documentos fundamentais. Concluímos que tudo se interliga. Os artistas e executantes circulavam, apropriando-se de exemplos públicos e transpondo-os nos particulares. Os donos das casas mantinham relações com troca de saberes. Infelizmente, a maior parte dos estudos realizados e que importa concluir não cabe no tempo e espaço da presente dissertação, pelo que nos limitaremos a uma imagem de gosto (ou gostos) e ideais artísticos que sublinham a função social e cultural destes ambientes.
Decorative environments where all the arts harmonize, integrated in an almost oblivion. Some environments of Romanticism studied by us have arrived intact to this day. Unfortunately, others were victims of sharing between heirs and the unsustainable maintenance of large houses. We strongly emphasize the inevitable reform in the nineteenth century environments because the change of habits made essential new thematic compartments and multifaceted objects to decorate them. Respect for romantic environments was not what was expected, because the fleeting evolution of taste, coupled with the contingencies of consumer society, wiped out its authenticity. The fact of being revivalists took away their antiquity. Let us try to understand it through the romantic environments presented, because it is time to look better at this "new style" still considered of doubtful taste and whose inspiration came from the royal environments. In the north of Portugal, there are no shortage of houses with environments typical of this period. It is a pity that the value of history is not given to a Romanticism that remains alive. The eighteenth-century arts will seek influences at all times, recreating the most remote past, with the artistic and socio-cultural knowledge, and already industrialized time. We are interested in focusing on this learning that has changed the course of being, living and feeling in a journey back in time to the Middle Ages. Rethinking existence, withdrawing and accumulating previous knowledge, the nineteenth century evolved as the abstract of the arts and sciences with its own interpretation. We understand this not only in the context of being the great era of changes and inventions, but almost isolated, at the mercy of the special looks and feelings of each individual inserted in a determined family and social layer. The region can make the difference and not by chance we look at environments of noble houses of the North of Portugal. It seems obvious to us that the region above the river Douro, historically more closed and isolated in its private life – not forgetting the entire area of Douro and Beira Alta – has better preserved ancestral values and traditions within its noble families. By the speed of fashions, circulation of goods and families, adhesion to foreigners and foreigners, centralization of power, Lisbon ended up being penalized for intact eighteenth-century environments. The decoration of Ajuda National Palace is probably the only one of its kind, since even the decoration of Tuileries Palace was destroyed by the commune of Paris in 1871. Without forgetting the Palácio da Pena, considered in 2007 one of the wonders of Portugal, which attests to the current popularity of these environments. In civil houses, environments remain open to study, not distancing themselves from the behavior, taste and living of a society sensitive to the most varied type of artistic manifestations. The houses presented differ between rural and urban, and are mixed in some cases, as we confirm that "there is no urban family as there is no rural family". The noble houses of Guimarães have some highlight in our dissertation because, initially, we think about exclusive Vimaranenses environments. The abundance, originality and historical-artistic richness of these examples of the north Douro river have changed our course, which has spread to other localities. Our dissertation serves as a tribute to the romantic movement and of praise to those who respect its memory, continuing to love the environments of these houses, erected or only intervened in the Eighth, which we find described in the novels and opinions of notable writers such as António Augusto Teixeira de Vasconcellos, Camilo Castello Branco, Eça de Queiroz. It is they who perpetuate the ways, people, experiences, prejudices (and concepts), scents of times where the past was never lost. Starting from the general, and of a comprehensive characterization, we highlight six of the examples that seemed relevant to us in terms of romantic decorative environments in noble houses that could exert a relevant influence at the time. In a more specific and strict plan, we study environments of other houses, dispersed by the North of Portugal, to which we make reference. In addition to the interest of these estates, characteristic of the collection of noble and bourgeois noble families (some of which have already been dismantled), the description of goods – which transports us to the reality of the great houses of the Court Nobility, appealing to a nobility in since the second half of the 18th century. After searching for noble houses, we highlight both preserved and recently dismantled environments with shares. We consider the houses of Villar d` Allen and Visconde da Gândara (in Porto), Carmo, S. Cipriano and Sezim (in Guimarães) and Boavista (in Ponte da Barca), as examples to be highlighted. Villar d` Allen, although initially remodeled by John Allen, was his son, Alfredo Allen, 1st Viscount of Villar d' Allen, who transformed it into the living museum of curiosities linked to the family and naturalia, which remains. Of all those studied, Villar d' Allen is perhaps one of the most romantic in that it preserves all memories and interventions. In the neoclassical house, erected in Eastern Porto by the 1st Viscount of Gândara, already exhibited a central heating by means of boilers in an underground floor. Casa do Carmo, attached to the family of the counts of Margaride in Guimarães, and which received the last kings of Portugal, is stripped of its filling, which has been dispersed by the family. (Unfortunately, it has undergone recent works that have distorted its interiors.) In the same county, Nicola Bigaglia (1841-1908) was called to intervene in S. Cipriano after designing the house which is now known as Museum of Quinta de Santiago, in Leça da Palmeira. Primitive medievalism added decorative and architectural aesthetics already rooted in a mature romanticism that influenced the first decades of the twentieth century. We compare it to Quinta de Pindela, whose house was last restored and enlarged in 1885, operated by the 2nd Viscount of Pindella, personal friend of João Santiago (lord of S. Cipriano) and father of D. Júlia do Carmo, married with a son of the 1st Count of Margaride who remodeled the house to receive the Majesties. Also in Guimarães, we distinguish the possible contribution of the taste of Auguste Roquemont (1804-1852) in the wallpaper of the halls of the House of Sezim. This artist spent great stays in that locality, leaving his mark by several dwellings that he visited like friend and bastard son of a German prince. The ambiences of the Casa da Boavista, in Ponte da Barca, were conceived at the end of the 19th century by Bento Malheiro Pereira Pita de Vasconcelos, 4th Viscount of Carreira. It have an English taste, related to Villar d' Allen, and its characteristic is the abundant light coming from the wide openings that allow the conviviality with nature. The inspiration came from the Casa da Carreira, the family Távora of Viana do Castelo, now the seat of the Town Hall. The eighteenth-century works were carried out simultaneously, and the owners appealed to the same craftsmen. In this dissertation it is important to focus on the decorative arts in the private domain that circulated from the interiors to the exteriors with some elements that remained from time to time in the Middle Ages. They were produced in nineteenth-century in Portugal and, even earlier in Europe, because our national reality is always a late reflection of European trends. Although, at this time, there were many cases in which the fashion dictated in Paris was soon followed in Portugal. Exposing well, in the aesthetic sense and in the will to retain the gaze, was not significant. Exposing a lot became an ideal – as in Villar d` Allen, where became a small museum of intimate pieces and living memories, in honor of John Allen. In the gardens, we find houses of “fresco” that fit into the landscape architecture of forms sometimes geometric or presumably spontaneous. We highlight the 17th century labyrinthine gardens of the Paço de S. Cipriano, adapted to the romantic taste. Its Butter House is even of Renaissance architecture. It was transported to the seventeenth century tank, with lion-shaped spiders, in the early twentieth century. In the shrubs or tree species themselves, caves-like hideouts were served exotic drinks such as tea, coffee, and chocolate. The gardens and woods of Villar d` Allen, formed from several farms, are more related to the romantic spirit with sinuous, almost savage paths punctuated by architectural elements. Sezim gardens are closer to this English ideal where nature facilities, in nature, benefit from greater freedom. Among the exotic species are the “cameleiras” or “japoneiras” brought to Portugal from the Discoveries (first from China, after Japan) that resulted in species with Portuguese names, as in Villar d' Allen. In terms of the archives in the houses covered, we are faced with a lacuna situation. We can not say that documentation is scarce, since most of the houses studied were fortunate to remain within the same families and to be estimated. In the nineteenth and early twentieth centuries, there was a real concern to accumulate memories and documents (letters, postcards, receipts, notebooks) and, from these disorganized files, dispersed key documents. We conclude that everything is interconnected. Artists and performers circulated, appropriating public examples and transposing them into private individuals. The owners of the houses had relations with exchange of knowledge. Unfortunately, most of the studies that have been carried out and which are to be concluded do not fit the time and space of this dissertation, so we will limit ourselves to an image of artistic taste (or tastes) and ideals that underline the social and cultural function of these environments.