Tesis sobre el tema "Histoire matérielle de l'art"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte los 50 mejores tesis para su investigación sobre el tema "Histoire matérielle de l'art".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Explore tesis sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.
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
Rogalski, Landrot Boris de. "La fabrique matérielle et symbolique de la ville : le cas de Villeurbanne de 1900 à 1950". Thesis, Lyon, École normale supérieure, 2014. http://www.theses.fr/2014ENSL0893/document.
Texto completoMy thesis, entitled “The material and symbolic urban fabric : the case of the city of Villeurbanne from 1900 to 1950” aims to analyse the mechanisms of urban fabric in order to highlight the role of political actors and the influence of urban experiences that lie outside of the municipality, thanks to which urban projects have been developed and spread in order to adapt Villeurbanne to an urban model. The late nineteenth century was a period of identity tensions in Villeurbanne in reaction to the project of annexation of the city by his powerful neighbour, Lyon. Municipal Council spread identity discourses in order to distinguish Villeurbanne and Lyon, and to mobilise inhabitants and convince politicians to reject the annexation. Jules Grandclément, socialist mayor from 1908 to 1922, rationalized the municipal management and introduced innovations to reform the city befor 1914. World War I disrupted the municipal level, but stimulated municipal intervention in urban planification. During the preparation of urban plan, municipal councillors represented Villeurbanne, not as a simple suburb, but as a city, and they organized exchanges of urban kowledges with other municipalities and especially with municipal experts of Lyon. Mayor Lazare Goujon (1924-1935) was directly related to the continuity of the initiatives of his predecessor. He innovated by introducing an ambitious urban policy that modified the urban morphology giving to Vileurbanne its urban attributes. The audience of urban transformations was such that Villeurbanne was represented as an example of modern city during the 1930s. Upon arrival at the head of the municipality in 1935, the Communists denounced the expensive urban policy of its predecessor, and they implemented a local policy in the context of the Popular Front. The political color of the municipality during the inter-war period was erased during the World War II in favor of the ideology of the Petain’s government. The real estate market slowed since the 1930s and stopped during World War II, but was reactivated by the State housing policy in 1950s. This State intervention in the field of urban planning expertise created conflicts but mostly generated a gap between the material and symbolic fabric of the city at the local level
Ferret, Sandrine. "Variations autour du cercle : la photographie : comme une "histoire de l'oeil"". Paris 1, 1993. http://www.theses.fr/1993PA010505.
Texto completoThe plastic work is formed by twelve sets of photographies (drums of washing - machines, circular mirrors and photographies taken in the subway through a spy-hole). To observe in and beyond a throbbing circle, to fix it and to show it in series. To look, to see, to sight but to be seen when the other one opens in mirror. The world is circular as the eye also is. I can see the world, who itself can see me, while my lens determines the view when releasing the shutter. The photographic objet becomes matter of reflexion : who is seing ? What is about the visible ? In my photographies, the rotary notion misleads the form, the circle surrounds light variations witch are sometimes fuzzy. Chaos is inside and the eye when it supposed itself to be a lens, realizes it is a view, it is the same time actor and subject of the photography. The photographer is lost in transformations bound by a circle forming a trapping cavity. The series accumulate, prints of the time, there are looking for the originel picture, the one which determines the release a shooting but it is not visible, for the visible is faster than my lens. Photographies are late pictures, they glance and wander about contradictory times. At the beginning of time, there is the eye that they fix from within. And it is a girl's eye | the male imaginery describes the motherly eye as a monster, the artist becomes persee cutting off meduse's head. So i should reverse the remark to catch the invincible and invisible spy who yields to my glance. "I", as girl, search for her own skin under her mask and that one, still frail, will escape the light's effects to show a basic endurance. The visible is a matter of virginity
Tsay, Jye-Ni. "Écrire une histoire de l'art taïwanais, une entreprise politique controversée". Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0097.
Texto completoDuring the 20th century, Taiwan was marked by both Japanese and Chinese colonial regimes, and is known today for political problems arising not only from the Chinese threat to the island’s de facto independence but also from its movement towards an affirmation of national identity. This island is thus an ideal laboratory for examining cultural hegemony, colonization, nationalism, etc. Through the subtleties of the visual arts, this thesis examines the modes of expression and the strategies adopted by those working in this field, which are driven by questions of national identity.Over a period of about a hundred years, the choice of aesthetic language, the interpretation of the autonomy of art, the superimposed hegemonies, the collective traumas and memories and the movement for indigenization, as well as westernization and globalization, have all constituted resources for the works concerned, either supporting resistance to official nationalism and colonization, or in favor of colonial action and resistance towards the identity transition. The analysis of the triangular relationship between Chineseness, Taiwaneseness and the western character in the field of visual arts provides material for this study, which revisits preconceived ideas about hegemony
Landry, Madeleine. "La peinture du Groupe de Beaupré (1896-1904). À la recherche des origines. Le terroir québécois comme représentation du Canada". Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26046/26046.pdf.
Texto completoDelli, Colli Vittoria A. "Les grandes gares ferroviaires du Québec 1888-1945". Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26176/26176.pdf.
Texto completoVaillancourt, Eric. "L'atelier d'orfèvrerie de Gilles Beaugrand". Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28399/28399.pdf.
Texto completoApreotesei, Liliana. "La question du support dans la sculpture de Constantin Brancusi". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30287/30287.pdf.
Texto completoSavard, Guillaume. "Du monastère au musée : statuts et fonctions de l'oeuvre peinte à l'hôpital général de Québec (1693-1960)". Thesis, Université Laval, 2005. http://www.theses.ulaval.ca/2005/23149/23149_1.pdf.
Texto completoMiamouini-Nkouka, Lucie-Blanche. "Histoire, pratiques et représentations : la céramique du Congo-Brazzaville entre culture matérielle et culture spirituelle". Paris, EHESS, 2004. http://www.theses.fr/2004EHES0068.
Texto completoOne question could sum up our preoccupation : how could one define "historiticity regimes" through ceramic? How could one describe relationship between pratics (how to make a work of art etc), waiting (structures that could favor or not these pratics) and meanings? How, which ceramic can be possible ties between a social group that produces it and representations, conceptions and beleives it projects on it? If this tie is obvious, so ceramic is a mean of communication betwenn visible and invisible, the collective uncounsciousness and material activity. Object of communication between a group and its representations, a way of telling narratives about fear, fantasms of a group, a crossing of relationships between subject and object, ceramic allow us to undestund the very congolese (Brazzaville) history
Louis, Marie. "L'art contemporain martiniquais de 1939 à nos jours : la naissance d'une histoire de l'art dans un contexte postcolonial". Electronic Thesis or Diss., Metz, 2009. http://www.theses.fr/2009METZ030L.
Texto completoIn 1943, René Hibran, French artist who had recently moved to Martinique states : « il n’y a pas d’art local ou si peu, si réduit dans ses manifestations ! ». Already four years ago, Father Delawarde did the same comment. However, in 2009, the art world has expanded considerably. A specific aesthetic developed far away from Western academism, plastic expression not stopping to fill out. Places of diffusion have opened and offer expositions of quality. A scientific discourse builds up, thus legitimating local production. Transmission is also insured thanks to the work of schools, including the Institut Régional d’Arts Visuels de la Martinique (also known as IRAVM). Our thesis aims at explaining how such an evolution is possible given the difficult context still subject to the torments of postcolonialism. So, we postulate that “history of art” mechanism grew in seventy years. Influenced by the postcolonial context which imposes resistance, by a literary world which initiates an identity expression’s quest, Martinique’s art is also dependent on actor’s commitment, in particular leader artists. Our thesis relies on a social vision of art. We consider the art world as a “history of art” mechanism, as a whole of four interrelated elements: production, broadcasting, transmission and legitimization.A first period of time, spreading from 1939 – beginning of the Second World War – to 1956 – first statement of departmentalisation – allows to lay the bases of this mechanism. During the world conflict, Martinique had to face the racist and repressive politics of Admiral Robert, the Vichy government’s representative in the Antilles, as well as a blockade aggravating an already precarious economic situation. Attachment to the metropolis gets more complicated. Between fidelity and disillusionment, a new status emerges. In 1946, Martinique becomes an overseas French department. The situation also evolves from a cultural point of view. Already in the 1930’s, a series of publications from black students in Paris questions the colonialist assimilation: Légitime Défense, in 1932, L’étudiant Noir, in 1936, where Aimé Césaire talks for the first time of Negritude. Martinique, which had only looked so far in the direction of France, turns now to a new centre: Africa, and discovers a new aspect of its identity. Plastic arts follow this upheaval. The world conflict makes the island a place of safety, a call for all the intellectuals fleeing from Nazi Europe: André Breton, Claude Lévi-Strauss or Cuban artist Wifredo Lam stayed there for sojourns of varied lengths. Less famous artists also land on the island. They unveil workshops open to all and import a vision of art that is completely original. With them, art is no longer an idle activity for young bourgeois, but rather a place of expression. Local artists therefore emerge, artists wishing to express the new identity detected by literary people. Indeed, they do not just create, but invest themselves in all the mechanism’s elements. In 1956, Césaire, deputy mayor of Fort-de-France, resigns from the French Communist Party, disappointed by the exactions of Stalinism and the FCP’s incapacity to fight postcolonialism. This resignation starts a long period of time marked by a fight against postcolonialism. Martinique is affected by a social and economic crisis, departmentalisation disappointed many. Moreover, some pied-noirs arriving from newly independent Maghreb countries and some CRS do not hide their disregard from black populations. The situation gets even tenser and violent conflicts burst out. In order to avoid an aggravation of these conditions – the spectre of Algeria is well present in minds – France sets up a new politic focusing on repression and migration. The objective is to shut up any resistance and to empty the country from it youth, youth that is often at the origin of riots. However this repression, only strengthens the resistance, which organises itself firstly in the political world and secondly in the associative world. The national fact is progressively acknowledged. If Martinique is a nation, it then needs a new identity. Authors such as Edouard Glissant, Patrick Chamoiseau, Raphaël Confiant and Jean Bernabé will feed this quest for identity. The evolution of the celebrations related to the 1848 abolition of slavery also participates to the formation of the Martinique people actors of their past and their future. Such considerations nourish artists. The Negro-Caribbean School offer a Caribbean aesthetic that is rich from the importance of its African bases. The Fwomajé group concentrates its attention on all the roots funding the island’s cultural hinterland: Europe, Africa, America and Asia. Independent artists also join this hunt for an identity and an aesthetic that expresses this identity. In parallel, the mechanism builds up. An academic discourse is developing. Cultural institutions multiply, and even more since culture becomes a major political stake
Louis, Marie. "L'art contemporain martiniquais de 1939 à nos jours : la naissance d'une histoire de l'art dans un contexte postcolonial". Thesis, Metz, 2009. http://www.theses.fr/2009METZ030L/document.
Texto completoIn 1943, René Hibran, French artist who had recently moved to Martinique states : « il n’y a pas d’art local ou si peu, si réduit dans ses manifestations ! ». Already four years ago, Father Delawarde did the same comment. However, in 2009, the art world has expanded considerably. A specific aesthetic developed far away from Western academism, plastic expression not stopping to fill out. Places of diffusion have opened and offer expositions of quality. A scientific discourse builds up, thus legitimating local production. Transmission is also insured thanks to the work of schools, including the Institut Régional d’Arts Visuels de la Martinique (also known as IRAVM). Our thesis aims at explaining how such an evolution is possible given the difficult context still subject to the torments of postcolonialism. So, we postulate that “history of art” mechanism grew in seventy years. Influenced by the postcolonial context which imposes resistance, by a literary world which initiates an identity expression’s quest, Martinique’s art is also dependent on actor’s commitment, in particular leader artists. Our thesis relies on a social vision of art. We consider the art world as a “history of art” mechanism, as a whole of four interrelated elements: production, broadcasting, transmission and legitimization.A first period of time, spreading from 1939 – beginning of the Second World War – to 1956 – first statement of departmentalisation – allows to lay the bases of this mechanism. During the world conflict, Martinique had to face the racist and repressive politics of Admiral Robert, the Vichy government’s representative in the Antilles, as well as a blockade aggravating an already precarious economic situation. Attachment to the metropolis gets more complicated. Between fidelity and disillusionment, a new status emerges. In 1946, Martinique becomes an overseas French department. The situation also evolves from a cultural point of view. Already in the 1930’s, a series of publications from black students in Paris questions the colonialist assimilation: Légitime Défense, in 1932, L’étudiant Noir, in 1936, where Aimé Césaire talks for the first time of Negritude. Martinique, which had only looked so far in the direction of France, turns now to a new centre: Africa, and discovers a new aspect of its identity. Plastic arts follow this upheaval. The world conflict makes the island a place of safety, a call for all the intellectuals fleeing from Nazi Europe: André Breton, Claude Lévi-Strauss or Cuban artist Wifredo Lam stayed there for sojourns of varied lengths. Less famous artists also land on the island. They unveil workshops open to all and import a vision of art that is completely original. With them, art is no longer an idle activity for young bourgeois, but rather a place of expression. Local artists therefore emerge, artists wishing to express the new identity detected by literary people. Indeed, they do not just create, but invest themselves in all the mechanism’s elements. In 1956, Césaire, deputy mayor of Fort-de-France, resigns from the French Communist Party, disappointed by the exactions of Stalinism and the FCP’s incapacity to fight postcolonialism. This resignation starts a long period of time marked by a fight against postcolonialism. Martinique is affected by a social and economic crisis, departmentalisation disappointed many. Moreover, some pied-noirs arriving from newly independent Maghreb countries and some CRS do not hide their disregard from black populations. The situation gets even tenser and violent conflicts burst out. In order to avoid an aggravation of these conditions – the spectre of Algeria is well present in minds – France sets up a new politic focusing on repression and migration. The objective is to shut up any resistance and to empty the country from it youth, youth that is often at the origin of riots. However this repression, only strengthens the resistance, which organises itself firstly in the political world and secondly in the associative world. The national fact is progressively acknowledged. If Martinique is a nation, it then needs a new identity. Authors such as Edouard Glissant, Patrick Chamoiseau, Raphaël Confiant and Jean Bernabé will feed this quest for identity. The evolution of the celebrations related to the 1848 abolition of slavery also participates to the formation of the Martinique people actors of their past and their future. Such considerations nourish artists. The Negro-Caribbean School offer a Caribbean aesthetic that is rich from the importance of its African bases. The Fwomajé group concentrates its attention on all the roots funding the island’s cultural hinterland: Europe, Africa, America and Asia. Independent artists also join this hunt for an identity and an aesthetic that expresses this identity. In parallel, the mechanism builds up. An academic discourse is developing. Cultural institutions multiply, and even more since culture becomes a major political stake
Charpy, Manuel. "Le théâtre des objets. Espaces privés, culture matérielle et identité sociale. Paris, 1830-1914". Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2007/document.
Texto completoThe study analyses the ways by which a social group consumed and produced a world of goods in order to shape its own social and cultural identity. With a view to reconstruct the social and cultural uses of things in a city which underwent deep commercial and spatial changes, the thesis identifies the nature and forms of the Parisian bourgeoisie’s consumption, through private and business archives. It studies how the bourgeois home was redefined in flat and in the growing city and how daily technology forged the bourgeoise’s private scenography and self-awareness. It studies then the material culture of 19th century Parisian bourgeoisie, understood as a set of signs and narratives designed by dealers and consumers, whilst industrialisation radically transformed the nature and hierarchy of materials and commodities. Finally, this work sheds light on phenomenons of imitation and distinction as social mobility increased and analyses how fashion trends came to being onto specific urban scenes, through the mediating role of taste legislators and the means of new forms of urban advertising
Couturaud, Barbara. "Mise en scène du pouvoir au Proche-Orient au IIIe millénaire : étude iconographique du matériel d'incrustation en coquille de Mari". Phd thesis, Université de Versailles-Saint Quentin en Yvelines, 2013. http://tel.archives-ouvertes.fr/tel-00844093.
Texto completoDavila, Thierry. "De l'inframince : brève histoire de l'imperceptible dans l'art moderne et actuel". Paris, EHESS, 2008. http://www.theses.fr/2008EHES0082.
Texto completoArt history is generally supposed to be the history of shapes clearly and distinctly present in front of every potential viewer. Nevertheless, there're works which call into question the logic of the presence of the form because they're imperceptible. Another vision of art, of the work of art and of the sensible experience follows from these artistic creations. This Ph D tries to analyse this history in modern and contemporary art (from the beginning of the XX century to nowadays)
Soret, Didier. "Arts plastiques et histoire de l'art à la Réunion : (1947-2001)". La Réunion, 2009. http://www.theses.fr/2009LARE0011.
Texto completoThe Ph. D. Research explores the realms of art in Reunion Island, in tree parts. Paintings, sculptures, engravings, installations, performances and photographs are taken as the subject of the study. The choice of such a theme comes from one statement. The arrival of Ambroise Vollard's Collection in Léon Dierx Gallery as soon as 1947 changes the field of art drastically. So, how can the presence of that collection in Reunion Island be qualified? What changes does it bring in the long run? The first part of this thesis puts forward the emergence of a chronology likely to access the situation as far as both art in Reunion Island and then art in the overseas French Department are concerned. Four chapters deal with the biographies of the main artists as well as the major innovations and a few cultural events deserving a further interest. At the same time, the transformation of urban, cultural, economic, social and political spaces are becoming more and more obvious, as the mutations of the island creation are being characterized. Consequently, the most meaningful works of art are presented (iconographies), analysed and then interpreted to build the time axis of art. Some fundamental data and definitions are pondered in the conclusions in order to announce the regional specificities. The presentation of the tittles, techniques and topics developed by the plastic artists cannot be ignored. After an analysis of that ensemble, the second part is the place for a clear reading of aesthetics. Besides, the conceptual part of art cannot hush up the notion of "Cultural Creolization". Indeed, the emergence of the latter in the works of art makes the Creole art from Reunion Island in the Indian Ocean achieve its specific nature. The conclusion makes a synthesis of the events, creations and exhibitions analysed and brought out through long observations and ponderings in the last ten years or more
Boudet, Menard Edwige. "Histoire de mon corps : enquête graphique et photographique, rôle thérapeutique". Paris 1, 1996. http://www.theses.fr/1996PA010577.
Texto completoTwo works, completed during my "D. E. A. " represent limited analyses of myself. They are "me",. . . But "who am i ?". "I" propose to answer this question through a "self-analysis" that resorts - to the free association process, - the analysis of my photographic works according to the dream interpretation method, appealing to collective symbolism, - an amplification of the tragefy dealt with in the first chapter : "mental image : body in pain", resulting in the creation of three series : "ambivalence and the acceptance of bipolarity", "death and re-birth", and finally "the infinite", respectively dealt with in the second, third and fourth chapter. The fifth chapter, "my inner discourse", materialises the meaningful items determined by the associative @atterns, and it defines my defensive dynamic. It is only at the end of this experiment that i plainly realise the ambiguity of my project : mesmerized by the "object", i was unable to free myself from it. They were my real self : the original thing. My body and the image of my body were but a second self : the meaningful core of the matter was "elsewhere". My "self-analysis" embodied in a thesis appears as the exemplification of my questiioning my own self, an illusion of the senses. I know that i am, for i know that i am a social being; but i refute the logical consequences of that awareness
Biass-Fabiani, Sophie. "Ecrire l'histoire de l'art de la marge". Thesis, Avignon, 2016. http://www.theses.fr/2016AVIG1161/document.
Texto completoThis dissertation based on works aims to reconstruct the cohesiveness of a research trajectory both characterized by: 1) the attempt to include art history in an interdisciplinary frame that gives a significant weight to its social and communicative dimension without being reductionist; 2) the will to question afresh the relationships between center and artistic periphery through published texts during a career devoted to curating and exhibiting. This is why the original text starts with a reassessment of Enrico Castelnuovo and Carlo Ginzburg famous article based on the research logic that different published texts reveal. Then the renovated analytical grid is applied to an object, Provence. This region is both an aesthetical object and a site of production. Its paradox leads it to be a place of high symbolic value as well as a periphery, sometimes stigmatized. The third chapter is based on a comparison between the artists that have been exhibited during the curator’s trajectory. By doing that, the notions of art, institution and market are revisited with a special attention given to the functions of exhibition and art critique in the process of artistic recognition. Last the relative importance of photo and video art in the curator’s trajectory leads to reassess the notion of middle-brow art (art moyen) developed by Pierre Bourdieu. One can thus identify the dynamics specific to those domains that aims to end the situation of relegation that has for long trapped them
Chrysovitsanou, Vasiliki. "L'art cycladique et sa réception : les statuettes du Bronze Ancien devant la culture moderne : archéologie et histoire de l'art". Paris 1, 2012. http://www.theses.fr/2012PA010647.
Texto completoAbecassis, Anne-Catherine. "Per Kirkeby : une histoire géologique de l'art : l'oeeuvre comme incarnation de l'histoire de l'art : de l'imitation à la citation". Paris 1, 2000. http://www.theses.fr/2000PA010689.
Texto completoRavaud, Elisabeth. "La radiographie des peintures : apport en histoire de l'art, en histoire des techniques et en conservation-restauration". Paris 1, 2011. http://www.theses.fr/2011PA010513.
Texto completoDesens, Jean-Fabrice. "L'art et les plantes : la mandragore". Paris 5, 1998. http://www.theses.fr/1998PA05P044.
Texto completoDerobert, Germain. "Le code civil à travers l'art". Montpellier 1, 2005. http://www.theses.fr/2005MON10003.
Texto completoOry, Solange. "Recherches en epigraphie et en histoire de l'art en syrie et au yemen". Lyon 2, 1990. http://www.theses.fr/1990LYO20067.
Texto completoPh d. The following studies have been presented: a. Cemeteries and inscriptions of hauran and gabal al-duruz (syria) b. About some characters named kumustakin at seldjuk period c. Al-'abbas mosque's decoration and inscriptions (yemen) d. Inscriptions of iranian style in busra (syria) e. Various types of script in busra at burid period. These studies have been chosen in order to show that same analytical method detailed and rigorous, can be applied, on the one hand, to epigraphy, leading to data basis, and the other hand, to art history, aiming at the elaboration of a grammar of the islamic decoration. This allows to raise the essential questions pertaining to both domains: the existence of alphabetical and decorative repertories, their origin and their formation, the way these decors and inscriptions have been executed; by local or foreign artisans, and politicaland religious interferences on these realisations
Pageard, Camille. "Utilisation et fonction de la reproduction photographique d'oeuvres d'art dans les écrits sur l'art d'André Malraux : formes et représentations de l'histoire de l'art". Phd thesis, Université Rennes 2, 2011. http://tel.archives-ouvertes.fr/tel-00585116.
Texto completoMolinet, Marylin Anne-Laure. "L'art de la crise : étude comparative sur la fonction et la réception de l'Art aux 19e et 20e siècles : france-Allemagne : arts plastiques, littérature". Thesis, Metz, 2008. http://www.theses.fr/2008METZ007L.
Texto completoThis research concerns the many multiple artistic ans philosophical innovations produced by the early german Romanticism inside of the Athenaeum cercle, first avant-gardist group of modern art, in the fields of literature and visual arts. The exigence to introduice modern art in the concept of education (Bildung) represents a crucial step, as well as the question of experimentation, and the autonomy of the work. The long-lasting refusal to promote modern art in France, and the reasons of this reject (strong centralism, but also denegation of teaching skills), are explained, as well as the lateness in a lot of museographic and didactic, by museums done, investigations. Exceptional case of the museum in Grenoble. In Germany, the most important steps reaching, during thirty years (1903-1933), at the victory of modern art on the academic art, are analysed : early Romanticism, opening of art-unions on the whole territory, fighting of Secessions, and, finally, the support of an important and non centralized museal scene (more than 40 museums), especially the Kronprinzenpalais, first museum of modern art, unknown in France. The research reveals the impact of all these innovations : evolution of the concept of Bildung, museums reform concerning didactic and scenographic aims, importance of temporary exhibitions and their movement, significant widening of the field of art
Toulouse, Ivan. "Voir en peinture : une recherche de l'évidence à travers une actualisation de la peinture d'histoire". Paris 1, 1992. http://www.theses.fr/1992PA010590.
Texto completoTellier, Geneviève. "Léopold II et le marché de l'art américain: histoire d'une vente singulière, 1909". Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210338.
Texto completoDoctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Eggers, Françoise. "Forme et histoire Sur la théorie de l'art de Max Raphael (1889-1952)". Paris 4, 2008. http://www.theses.fr/2008PA040188.
Texto completoThe theorist and philosopher of art Max Raphael (1889-1952) bequeathed a work of a very great richness. However only a negligible part of his writings was published as well in Germany as in France and in the United States where he resided successively. The objective of this research is to show the coherence of his work at first sight eclectic, exploring fields as different as traditional painting but also the cubism, the Greek architecture, medieval architecture or constructivist, then the cave paintings and archaic art in the last years of his life. Overcoming cleavage between idealism and materialism, having conceived an empirical method of analysis of the works of art, Raphael works out this idiom which is peculiar to him where crystallize the fundamental concepts allowing, according to him, to realize of the emergence of the form in the matter and within the process of artistic creation. However deeply rooted in the German idealistic tradition, his work comes within the context of a resolutely innovative step, between hermeneutics and iconology, and prefigures in many ways the modern esthetics
Audet, Bernard. "L'établissement agricole de l'île d'Orléans : XVIIe siècle - début du XVIIIe : étude de culture matérielle". Doctoral thesis, Université Laval, 1987. http://hdl.handle.net/20.500.11794/29217.
Texto completoAdjedj, Marie. "Déhiérarchiser l'art : usages et fonctions du document au tournant des années 1970". Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0039.
Texto completoAt the end of the 1960’s, in a context of serious crisis of institutional legitimacy, number of artists defy the power and control of art market, criticism and museum. Some dealers, critics and curators join in and intend to de-hierarchize the art world. Among them : Germano Celant, Lucy Lippard, Carla Lonzi and Seth Siegelaub, along with Kynaston McShine and Harald Szeemann. What is at stake in their practices does not have to do with denying the art system, neither defining new functions for the middle-men, but is about occupying a position which would no longer be authoritarian. To do so, they relate their research to the document, considered as an operating mode involving trading, editing and methods. This operating mode is interrelated to art works and artists’ texts in a context of conceptual and post-minimal art. The ones who are part of this study develop their practices as an informational system, which suppose a close cooperation with the artists in order to restore their control on the circulation of their own works, along with their authority on the discourses about them. Nevertheless, the art criticism declination of this informational system does not suppose the absence of discourses from the art critics. In the cases of Germano Celant and Lucy Lippard, criticism is stable, even though they intend to delegate interpretation to the audience. Concomitantly, the informational system has to face the difficulty of articulating the defense of a self-referential art with political ambitions enlarged to society. This difficulty is solved by various ways, between drop out and strengthened practices of document
Cârneci, Magda. "Discours du pouvoir, discours de l'image : l'art roumain pendant le régime communisme". Paris, EHESS, 1997. http://www.theses.fr/1997EHES0018.
Texto completoTixier, Frédéric. "La monstrance eucharistique du milieu du XIIIè siècle aux environs de 1600 : genèse, évolution typologique, fonctionnalités et impacts mentaux d'un élément majeur du mobilier liturgique". Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100081.
Texto completoThe Eucharistic monstrance, an important liturgical vessel, appears in second half of the 13th century in order to satisfy the new aspirations of the community of the faithful. Its members wished to witness the transubstantiation of the Body of Christ and partake more actively in the different religious rites. Offering a reflection on this liturgical piece as it appears in the whole of Western Christendom, this study addressed the various purposes of the sacred vessel as well as its impact on the experience of faith from the end of the Middle Ages to beginning of the modern period (mid-13th century to the end of the 16th century). In order to achieve this objective, the study has been divided into three parts. The first focuses on the context in which the “Porte-Dieu” emerged, from moment of the Church's re-appropriation of previous practices of worship to the creation of festivities in honor of Blessed Sacrament. The second reconsiders questions of a typological and decorative nature. Finally, the third examines the multiple uses of the liturgical object from the beginning of the 1300s until shortly after the council of Trent
Mondout, Delphine. "L’oeuvre et le regard : pour une histoire de l'oeil à la fin du 20e siècle". Paris 10, 2007. http://www.theses.fr/2007PA100161.
Texto completoThis research focuses on the visual representations of the eye-object and stories exploring the gaze. The corpus contains works of art from the 1980s and 1990s. As a first step, the major optical theories (Aristotle, Plato, Ibn al-Haytham), and historical practices of the vision are worked in their relation to the sense of touch and blindness, according to its varying degrees. It also aims to show the characteristics of the eye in the 20th century. The study covers then on the various meanings of the eye-object. The blind eye, a sign symptomatic requiring an analysis of the various processes of the image and its mode of emergence, is also envisaged. Finally, eye-object has worked in the field with eroticism for landmark story of the eye (1928-1967) by Georges Bataille (1897-1962). In this field, artists operate with freedom but without forgetting visual prohibitions conveyed by ancient myths (Medusa, Acteon)
Ayrault, Patricia. "L'affiche en Espagne de 1915 à 193O : a la recherche de l'Art-Déco". Paris 3, 1997. http://www.theses.fr/1998PA030047.
Texto completoThrough the study of 441 posters published in spain from 1915 to 1930, my purpose has been to analyse the rhetoric of spanish poster art as well as to determine the place and importance of spanish art-deco posters in world of posters. Posters have been classified into three categories : - traditional posters with bullfighting and religious themes from saragossa, seville and malaga. - regional posters, from basque country and from galice. - modern posters, from valencia, barcelona and madrid. My dissertation consists of two main units: a synthesis in the first three parts and an analysis in the other four parts. The main lines for each of them are as follows : - part one examines the economic, sociological and political environment of the period under study. - part two provides a definition of posters and part three identifies the concept of art-deco. - part four, five and six examine the traditional, regional and modern day posters in succession. - part seven analyses the style of all the categories mentioned from a dimensional, chromatic and typographic aspect
Benoist, Sophie. "Johnny Depp : de l'art de la métamorphose à l'art du paradoxe". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030121.
Texto completoFrom Wes Craven’s A Nightmare on Elm Street (1984) to Rob Marshall’s Pirates of theCarribean: On Stranger Tides (2011), Johnny Depp has built one of the most original andeclectic careers in the history of American film acting. As early as his first two big roles hehas exhibited a strong sense of artistic ethic from which he has rarely departed. In JohnWaters’ Cry-Baby (1989), he exaggerated each gesture, each facial expression. The followingyear, he starkly impersonated Tim Burton’s half machine, half human Edward Scissorhands.Since his debut, the characters played by Depp rarely escaped this transformative urge,which draws inspiration from various aesthetic sources and culminates in the skilful use ofboth underplay and overplay. Depp creates new forms of artistic expression by merging andharmonising these two opposing styles
Guérin, Hélène. "François Sabatier (1818-1891) : lire, traduire et écrire l'histoire l'art : les chemins d'un critique d'art et mécène fouriériste vers une Histoire de l'art". Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30074.
Texto completoThis thesis focuses on François Sabatier (1818, Montpellier - 1891, Lunel), husband of the singer Caroline Ungher and translator of Goethe and Schiller, known as a patron and Fourierist critic through the publication of his Salon de 1851 in the Librairie phalanstérienne and his selection of the decor of his Florentine palace by Fourierist artists (Bouquet, Ottin, Papety). The utilisation of previously unused historical sources, of his manuscripts and the reconstruction of his library, which was bequeathed to Montpellier, allow one to reconsider Sabatier's relationship to art. As a result, his formation, which includes his association with artists (Courbet, Hébert, Ricard, Lefuel, Lesscore), his journeys and residencies (in Germany, Greece, Italy), his readings and meetings with authors is now better known. Consequently, his critique and his theoretical ambitions appear in a new light. Finally, his engagement in contemporary artistic and historical debates, realism, awarding of the Zisa palace to Palermo and techniques for restauring mosaics in Sicily all exemplify his important contributions. The networks constituting his sociability and engagements include authors such as Amari, Di Marzo, Michelet, Villari, Schnaase, Gregorovius, and such conservators of art works as Salinas and Riolo. The approach followed here is based on the cataloging of his library and the recording of his inscriptions and marginal notes in books, and allows one to specify the nature of his relationship to art, which goes far beyond critique, patronage and collection
Roig, Miranda Marie. "L'art de Quevedo dans ses Sonnets". Paris 4, 1987. http://www.theses.fr/1987PA040074.
Texto completoA detailed analysis of Quevedo's 502 sonnets is provided in part I and part II, which makes it possible to appreciate the originality of his style more thoroughly. The discovery and accurate expression of analogy seem to lie at the very heart of the poet's concerns and activity. A statistical study of the tropes and figures shows how the style varies according to the theme of each sonnet, and reveals the richness of Quevedo's art. Ideas and feelings are indissolubly linked and the poet's ego discloses itself with delicacy. Stylistic phenomena determine the construction of the concepto, and are adequately and harmoniously seated in the sonnets’ form. The statistical results thus obtained are next used, in the third part, to address the problems of attribution and dating raised by Quevedo's poetry: his art is best characterized, on the one hand, by a certain number of constants and, on the other hand, by a specific evolution from the beginning to the end of his creative work. It has thus been possible to establish different degrees of probability for the attribution of six sonnets which are known from one single manuscript. Moreover, as far as chronology is concerned, more precised dates are put forth for 77 sonnets as well as an approximate localization within one the poet's four main periods for 273 sonnets which had never been dated hitherto
Hubrecht, Emmanuelle. "L'Opéra public et l'imprésario à Venise (1637-1680) : De l'art dramatique au spectacle". Paris 3, 1988. http://www.theses.fr/1988PA030020.
Texto completoThe thesis starts by giving a brief overall picture of the historical, political, economic and socio-cultural background of the period, then basus to a study of archiv documents dating between 1638 and 1680. These documents reveal the way in which the profession of impresario took shape, and how this gained in importance within the context of venetian opera, together with paralell development of commercial theater organisation. The study is divided into five parts : 1-the melodramma : made in venice ! 2- how the system came into effect 3- the powers and limitations of impresario 4- theater managment 5- casting
Khattabi, Brahim el. "Le plagiat dans l'art d'écrire la grammaire arabe : le cas des grammairiens arabes "tardifs"". Paris 8, 1998. http://www.theses.fr/1998PA081480.
Texto completoIt is not unusual to find in the work of different writers some common ideas and thoughts expressed in a similar way. However, in the books we studied and compared it is, in fact, whole parts of text that were thoroughly lifted and copiedwith merely small differences such as few additions and suppressions to mislead the reader, without any reference to the real author. We backed up our statement by sound arguments while we emphasized the methodology followed by different grammarians. On this score, we were inspired by contemporary grammarians and linguists approach in their comparative studies of arabic texts of their predecessors. A great number of late grammarians work, not only does'nt meet with the scientific criteria established by their famous predecessors, but contravenes these criteria in a scurrilously manner, drifting in superfluity and verbosity and in some cases plagiary. With regard to the numerous cases of plagiary we were able to detect, it was imperious to reconsider the reference sources from wich they draw and lift their literary production. In the books we chose to study two different types of plagiary were identified. 1/ the authors of plagiary that lift the text without changing anything and insert it in their own work with a new title and lay claim to it as a whole. 2/ the authors that "work" the borrowed text and insert the modified portions in their book, in order to confuse the reader and delude him. Among the adepts of the first method, we studied as a model. Ibn sida in his book "al-mukhacac" al-a3lam a- antamarri" in his book "an-nukat fi tafsirin 3ala kitabi sibawayhi" the first part of our work "methodology of the whole plagiary" was devoted to these two authors. In this part we compared the mentionned works with "kitab arh al-kitab. Kitab sibawayhi" we then compared the texts, part by part and chapter by chapter to detect the portions reflecting a personal contribution in a whole passage. In the second part of our work we dealt with the second type of plagiary that we named "worked plagiary". Among the adepts of this second method we took as exemples. Ibn hiam with his book "mughni allabib, that we compared with the book of al-hasan ibn al-qasim al-muradi: "al-jana ad-dani fi huruf alma3ani
Talpin, Camille. "Michel Leiris et l'art de son temps (1922-1990)". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH029.
Texto completoA poet close to surrealism, an autobiographer and an Africanist ethnologist, Michel Leiris (1901-1990) was also the friend of the greatest artists of the twentieth century - André Masson, Joan Miró, Alberto Giacometti, Pablo Picasso, Wifredo Lam or Francis Bacon. The relationships between the writer and painters or sculptors gave rise with the former to the writing of numerous commentaries on the work of the latter. Revealing different writing exercises - poem, review article, preface or essay -, the writings on art express a common singularity of the poet within the scope of art history. Less an expert in art than a lover of art, Michel Leiris has made his writing a place of experimentation and quests towards the artistic creation of his time. By relating the circumstances of the meetings with the artists, then, by studying the friendships maintained with the latter, it can be demonstrated how Leiris embodies a singular and emblematic personality in the specific field of art history. Moreover, his writing will be linked to the ever renewed experiments in which the writer participated throughout the twentieth century - surrealism, ethnography or political commitment. Thus, the expression of his sensitivity can be placed at the centre of the epistemological debates of art history and the Humanities and Social Sciences. Actually, it will be a matter of questioning the quests of "presence", realism, modernity, beauty, sacred and the figure of the otherness in art, through issues inherent in the discipline of art history, while considering Leiris's sensitive and subjective link with the works of art