Literatura académica sobre el tema "Histoire matérielle de l'art"
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Artículos de revistas sobre el tema "Histoire matérielle de l'art"
Burton, Anthony. "Looking forward from Ariès? Pictorial and material evidence for the history of childhood and family life". Continuity and Change 4, n.º 2 (agosto de 1989): 203–29. http://dx.doi.org/10.1017/s0268416000003660.
Texto completoDarbo-Peschanski, Catherine. "Condition humaine, condition politique. Fondements de la politique dans la Grèce archaïque et classique". Annales. Histoire, Sciences Sociales 51, n.º 4 (agosto de 1996): 711–32. http://dx.doi.org/10.3406/ahess.1996.410882.
Texto completoThuillier, Jacques. "Histoire littéraire et histoire de l'art". Revue d'histoire littéraire de la France o 95, n.º 7 (1 de julio de 1995): 150–56. http://dx.doi.org/10.3917/rhlf.g1995.95n7.0150.
Texto completoIhl, Olivier. "Pour une histoire matérielle des récompenses". Hypothèses 12, n.º 1 (2009): 233. http://dx.doi.org/10.3917/hyp.081.0233.
Texto completoPoulot, Dominique. "Une nouvelle histoire de la culture matérielle ?" Revue d’histoire moderne et contemporaine 44, n.º 2 (1997): 344–57. http://dx.doi.org/10.3406/rhmc.1997.1870.
Texto completoDéloye, Yves y Olivier Ihl. "Pour une histoire matérielle de la démocratie". Critique 697-698, n.º 6 (2005): 484. http://dx.doi.org/10.3917/criti.697.0484.
Texto completoCaimari, Lila. "Andrés Freijomil, Arts de braconner. Une histoire matérielle de la lecture chez Michel de Certeau". Prismas - Revista de historia intelectual 26, n.º 1 (11 de noviembre de 2022): 273–75. http://dx.doi.org/10.48160/18520499prismas26.1319.
Texto completoVergnolle, Éliane. "Recherches en Histoire de l'Art". Bulletin Monumental 162, n.º 2 (2004): 131. http://dx.doi.org/10.3406/bulmo.2004.1610.
Texto completoPressouyre, Léon. "Histoire de l'art et iconographie". Actes de la Société des historiens médiévistes de l'enseignement supérieur public 20, n.º 1 (1989): 247–68. http://dx.doi.org/10.3406/shmes.1989.1512.
Texto completoSalet, Francis. "Emblématique et histoire de l'art". Revue de l'Art 87, n.º 1 (1990): 13–28. http://dx.doi.org/10.3406/rvart.1990.347817.
Texto completoTesis sobre el tema "Histoire matérielle de l'art"
Baracca, Pierre. "La matérialité, une emblématique artistique : un mouvement long de Giotto aux installations, sociologie de l'art". Paris 3, 2005. http://www.theses.fr/2005PA030129.
Texto completoThis sociological research deals with the social meaning of the sudden flow of objects into contemporary Western art that occurred about 1960, at the tail-end of a long-lasting process in the course of which objects were first introduced into religious imagery (Giotto), then became the subject of pictures (Still Lifes), finally to be presented in concrete form (as ready-mades, accumulations, installations). Introducing the notion of ‘artistic emblematics' as applied to materiality, will enable us to assimilate these artistic practices to social strategies for the positive appropriation of earthly life and for disenchanting the world (cf. M. Weber). This notion of ‘artistic emblematics' points, via that of resilience, to a vision of the artist as an active subject of the production and reception of art, by showing how she operates within social groups, institutions and socialization. This notion reopens the debate on the relationship of art with ideology, the use of economic metaphors (market, competition, goods) in the artistic field, and reception in concentric circles
Le, Guennec Aude. "Le vêtement d’enfant ou l’entrée dans l’histoire. Enquête du XVIIIe siècle à nos jours dans les collections publiques et privées occidentales". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040205.
Texto completoDespite the abundance of children’s clothes in the collections of French Fashion, Applied Arts and Folk Museums, Children’s Fashion is not a major topic in Fashion History. Crossing a corpus of artefacts with ethnographical, historical and sociological testimonies and archives from the Fashion Industry, this research intends to analyse the relationship between the child and its clothing. Despite its abilities to talk, manipulate and desire, the child is not imbued by the habits defining social beings. Therefore, in a constant interdependence with the adult, the child’s education consists in its socialisation to bring him into history. Through the analysis of the capacity of Fashion to dress the identities, this research approaches clothing as an education tool in the hands of the adults. In parallel, as a technical handling kit, a set of sensations and an object of desire, clothing is an adoptable system by the child who dresses up itself as it wants. In order to avoid an adult focus, this study looks also at the deconstruction of this socialisation process by analysing the appropriation of fashion by children. Finally, this study of children’s clothing provides another approach to Childhood History and shows the essential contribution of the study of the Material Culture to a Childhood Sociology, source of knowledge of the mechanisms of our society
Larochelle, Sophie. "Historiographie des matériaux et instruments du dessin à la Renaissance : de Joseph Meder à Annamaria Petrioli Tofani". Thesis, Université Laval, 2005. http://www.theses.ulaval.ca/2005/22586/22586.pdf.
Texto completoPalladino, Nicoletta. "19th - 20th century zinc white paints : multidimensional physico-chemical characterisation". Electronic Thesis or Diss., université Paris-Saclay, 2024. http://www.theses.fr/2024UPAST042.
Texto completo: This thesis explores the propertiesand use of zinc white oil paints, from the nanoand micro-scale up to the macro-scale of artworks.Zinc white (ZnO), a modern pigment developed in the late 18th century as a non-toxicalternative to lead white, was adopted in oilpaint in the middle of the 19th century. Initially used alongside lead white, its lower covering power and brilliance made it a choice forcolour blends and highlights, but also for impastos and grounds. It can cause condition issues,for example due to the formation of zinc soaps,which have been the main focus of several studies.Knowing the pigment is, therefore, crucialfor technical studies and artwork conservation.Thus, this research focuses on two areas: thestudy of the physico-chemical properties of zincwhite and the extent and modalities of use of thepigment. The analysis of several types of material is complemented by documentary researchand a survey among heritage professionals.The first axis is addressed through the analysis, at the nano- and micro-scale, of a large,unique and varied corpus of historical and modern artists’ materials from the leading European and American manufacturers, and a selection of painting samples compared with reference materials and paint mockups. Several analytical techniques are used, from conventionallaboratory methods (optical and electron microscopy, XRD) to large facilities, such as theAGLAE particle accelerator (PIXE, IBIL) andthe ESRF synchrotron (high-angle resolutionXRD). Other compounds than ZnO were identified in the paint materials, shedding light oncertain practices of colour manufacturers andexamples of adulteration. Hydrozincite, a probable degradation product of ZnO, was identifiedin some samples. This study highlights differences in the composition and size of ZnO particles between historical and modern materials,as well as a luminescence behaviour that is moredifficult to interpret because it depends on several factors linked to the pigment and its environment. The morphology and size of the ZnOparticles and the purity of the materials analysed suggest synthesis via indirect method.The second axis is based on X-Ray Fluorescence (XRF) spectroscopy campaigns onaround fifty artworks analysed in-situ in museums, and the detailed study of a selection ofpaintings in the laboratory. This research showsdifferent uses of the pigment through examplesfrom the beginning of the 19th up to the mid20th century, which form a reference databaseof artworks containing zinc white. The studyalso calls into question the identification of zincwhite, particularly when solely based on XRFanalyses. The interest in a non-invasive protocol for pigment identification based on its photoluminescence was highlighted, which is complementary to the use of cathodoluminescencefor the invasive study of paint materials.This research constitutes a reference onthe physico-chemical properties and use of zincwhite; it provides information on the materialhistory of the pigment and modern artworks,opening up new perspectives for artwork conservation and authentication
Gros, Gilles. "Histoire et épistémiologie de l'art dentaire". Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30007.
Texto completoThe epistemologisation of the dentistry is based on the evolution of two concept-keys of sciences of nature : matter, object of physics and chemistry, and life, object of biology. It is marked by two great discontinuities which delimit the three great periods of its history. The first discontinuity is at the beginning of the 18th century when Fauchard, influenced by the ideas of Galileo and Descartes, makes dentistry engineering and introduces it into modernity. The second discontinuity takes place at the end of the 19th century, after the dentistry integrated concept-keys stated by C. Bernard, Virchow and Pasteur who accentuate his biologisation and whom revolutionary technological discoveries lead it to institute a durable alliance between science and technology. At the 20th century, the technical invention leads to the technical panic and the biologisation accelerates. Then the dentistry becomes aware of the need for attenuating the discordance between organic values and mechanical values. What leads it to renew its disciplinary landscape, to specialize and adhere to the complex thought. At the end of the 20th century, it reaches the mechanisms of the life and is interfered tissue engineering, from where strong presumptions of a vast reform of its epistemological and therapeutic program to the 21th century
Tron-Carroz, Caroline. "La boîte télévisuelle : histoire matérielle et conceptuelle d’un objet polytechnique". Paris 10, 2008. http://www.theses.fr/2008PA100073.
Texto completoIn the 1960s, at time when the television set is implanted in the domestic space of industrial countries, artists like Edward Kienholz, Nam June Paik or Wolf Vostell, seized the TV set and created TV boxes: they caused interferences to the broadcasts, put the sets in concrete and manipulated the contents. The manipulations transform the television set into a receptacle filled with heteroclites and salvaged objects and with the video device, it becomes a monitor. Actually, when the television set get into the artistic field it becomes at the same time a TV box. The daily space of the TV box is not the living-room anymore but the space of the museum or the space of the Happening. Besides, this work analyses the discourses for or against the television and the artistic repercussions on the TV set. Nevertheless, the TV box could not be limited to the framework, to the screen or to the electronic components, this appellation involved historical and cultural issues about the TV set- an emblematic polytechnic’ object of mass communication. The TV box enables to examine also the relationship with other artistic productions that used and conceptualized the box. This work analyses the material and conceptual processes used by the artists to get the television set in the field of history of art in United-States, in Germany and in France until the beginning of the 1990s and it is strongly linked to various disciplines such as history of art of the twentieth century, the cultural and social history but also the history of industrial creation
Robic, Jean-François. "L'art, l'image du monde : histoire, figures, poétique". Rennes 2, 1989. http://www.theses.fr/1989REN20002.
Texto completoThe objective is to find an ethics of alliance between art and nature, not by the traditional ways of representation, but in a poetic approach in which the artwork making is an echo and an extend of the morphogenetic mechanisms of the universe. The methodology is an iconological research marrying history of art, aesthetics, and poetics - a specific art worker approach. Historical artworks are analysed (first part) and the author’s own production so, précising the roots and the modernity of the works (second part). At first, are analysed the relations between cosmological knowledges and artistic forms at some times very sensible to these relations: before renaissance, baroc time, romantism, impresionism. As other kind of knowledge, the art contributes to build the image of the world, with its own ways of representation, but, above all, by the more important place - since romantism - of the pain- ting proceedings in the artistic meanings, in the time of discoveries and changes in cosmological ideas. At last, a cosmic connection with the world is found in some pictorial practices. Searching in the appearances (sing, figures, thematic) and and the "transparence" (serial structures, poetic process), the artwork is seeing like an" un measure" of the world, and a "of the world, and a "disorder" of its image
Gelbseiden, Annick. "L'art lyrique à Montpellier de 1789 à 1914". Paris 4, 1987. http://www.theses.fr/1987PA040480.
Texto completoComposed for the most part with the help of documents from the archives and notes written by a musician in the municipal orchestra, this study defines the different aspects of opera in Montpellier from 1789 to 1914. The description of the town and the society that composed it (taking as starting point the opera house audience) is followed by the history of the different theatres in which opera develops: the theatre in the "place de la Comedie", the pole of attraction of cultural life, the temporary theatre, and the other theatres which open in the second half of the 19th century. A detailed study is then made of the administrative and economic organization of these theatres (the managers and their careers, an analysis of the rules and regulations in force during productions, the length of the opera seasons, subscription conditions and ticket prices, subsides given by the town hall receipts and expenses in the theatres). The study continues with the presentation of the opera house musicians; after a reminder of the main tasks to be performed by the artistes, a distinction is made between the instrumentalists in the orchestra and the singers. The study of the orchestra highlights the increased numbers and the progressive enriching of the sections which change the little instrumental group of the end of the 18th century into a real orchestra capable of accompanying the grand operas. The presentation of the Montpellier opera company
De, Rogalski Landrot Boris. "La fabrique matérielle et symbolique de la ville : le cas de Villeurbanne de 1900 à 1950". Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2014. http://tel.archives-ouvertes.fr/tel-01066746.
Texto completoJacqué, Bernard. "De la manufacture au mur : pour une histoire matérielle du papier peint (1770-1914)". Lyon 2, 2003. http://theses.univ-lyon2.fr/documents/lyon2/2003/jacque_b.
Texto completoFrom 1770 to 1914, wallpaper became the premier decoration in western interiors. Until recently, its study is concentrated on the history of style and little is know about the general context in which it was produced. It is necessary to investigate the circumstances of its creation; the firm, the studio, the factory, and to study its marketing and consumption. By focusing on these aspects we achieve a greater understanding of what is lying beneath its surface and which gives it meaning. During the 18th century wallpaper was still produced for elite markets, about which a good deal is know. By using the archives the King's house, and, the rich archives of N. Dollfus & Co in Mulhouse, it is possible to provide an answer to some of the questions about its context. During the 19th century, the consumption of wallpaper increased with the introduction of mechanization : the study concentrates on products intended for elite markets, such as the "scenics", "decors" etc. Documented in the archives of the Jean Zuber & Co, Rixheim. This study establishes wallpaper firmly as a fundamental element of the culture of the interior at every level of society
Libros sobre el tema "Histoire matérielle de l'art"
Pietruk, Fabienne, Andrea Cardoso, Michel Polfer y Paula Alves. Portugal: Drawing the world. Luxembourg: Publications du Musée national d'histoire et d'art, 2017.
Buscar texto completoThuillier, Jacques. Histoire de l'art. Paris: Flammarion, 2003.
Buscar texto completoFaure, Elie. Histoire de l'art. [Paris]: Gallimard, 1991.
Buscar texto completoFaure, Élie. Histoire de l'art. [Paris]: Denoël, 1987.
Buscar texto completoFaure, Elie. Histoire de l'art. Paris: Denoël, 1985.
Buscar texto completoGombrich, E. H. Histoire de l'art. Paris: Flammarion, 1986.
Buscar texto completoBaratte, François. Histoire de l'art antique: L'art romain. Paris: Ecole du Louvre, 1996.
Buscar texto completoHoltzmann, Bernard. Histoire de l'art antique. Paris: Ecole du Louvre, 1998.
Buscar texto completoErnesto, D'Alfonso y Beauvais Michel, eds. Histoire universelle de l'art. Paris: Solar, 1990.
Buscar texto completoChalumeau, Jean-Luc. Histoire de l'art contemporain. Paris: Klincksieck, 2005.
Buscar texto completoCapítulos de libros sobre el tema "Histoire matérielle de l'art"
Saint-Martin, Isabelle. "Histoire de l'art religieux et approche anthropologique". En Historiographie de l'histoire de l'art religieux en France à l'époque moderne et contemporaine, 83–88. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.behe-eb.4.00822.
Texto completoCannella, A. F. "Pour une histoire matérielle de l’art. Approche interdisciplinaire des techniques verrières anciennes". En Typologie des Sources du Moyen Âge Occidental, 151–66. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.typ-eb.3.2330.
Texto completoLeclercq-Marx, Jacqueline. "Entre archéologie et histoire matérielle. Pour une étude du décor des cheminées médiévales". En Du métier des armes à la vie de cour, de la forteresse au château de séjour : XIVe-XVIe siècles, 36–54. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.stmh-eb.3.2578.
Texto completoAllart, D. "Pour une histoire matérielle de l’art. Recherches en cours au Centre d’Archéométrie de l’Université de Liège". En Typologie des Sources du Moyen Âge Occidental, 61–79. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.typ-eb.3.2325.
Texto completoSpieser, Jean-Michel. "Histoire de l'art et archéologie du monde byzantin : de la vie des formes à leur fonction sociale et à leur fonctionnement anthropologique". En Bilan et perspectives des études médiévales en Europe, 81–106. Turnhout: Brepols Publishers, 1995. http://dx.doi.org/10.1484/m.tema-eb.4.00472.
Texto completo"« Existence esthétique » et phénoménologie matérielle". En Michel Henry et l'affect de l'art, 65–93. BRILL, 2012. http://dx.doi.org/10.1163/9789004186811_005.
Texto completoDelvit, Philippe. "Art, entreprise, histoire ?" En L'entreprise et l'art, 9–21. Presses de l’Université Toulouse 1 Capitole, 2017. http://dx.doi.org/10.4000/books.putc.3858.
Texto completoHuys, Viviane y Denis Vernant. "Chapitre 6. L’approche langagière de l’art". En Histoire de l'art, 103–24. Armand Colin, 2019. http://dx.doi.org/10.3917/arco.huys.2019.01.0103.
Texto completoHuys, Viviane y Denis Vernant. "Chapitre 5. Le bénéfice d’une analyse formaliste". En Histoire de l'art, 85–102. Armand Colin, 2019. http://dx.doi.org/10.3917/arco.huys.2019.01.0085.
Texto completoHuys, Viviane y Denis Vernant. "Chapitre 12. Le rôle de l’empathie dans la perception des œuvres". En Histoire de l'art, 235–46. Armand Colin, 2019. http://dx.doi.org/10.3917/arco.huys.2019.01.0235.
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