Thèses sur le sujet « 1950s Illustration »
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Andersén, Jenny. « En virtuell klädkollektion : En rapport om processen i att designa och illustrera en virtuell klädbutik till Stardoll.com ». Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19504.
Texte intégralKLEOPFER, KIRSTIE L. « NORMAN ROCKWELL'S CIVIL RIGHTS PAINTINGS OF THE 1960s ». University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179431918.
Texte intégralSchütz, Marine. « Entre les lignes : dessin, illustration et pratiques graphiques dans le Pop art (1950-1975) ». Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3104.
Texte intégralBy 1962 with the beginning of Pop art, the iconography of illustration and advertising points the development of an art founded on graphics. Interestingly, the relations between Pop art and drawing allow to follow how the handmade practices reassess the artists’ positions towards mass culture and deal with material issues (such as manual involvement) and the meaning of iconography (counter-culture, return of the figure). Starting from the point that artistic pop economy of art owes its back and forth mouvement between manual and mechanical options to its protagonists’ artistic education, this dissertation opens with the study of drawing’s emergence in a pedagogical context. The study of the relations between drawing and mass culture wouldn’t be fully led without assessing the answer of the artists who involve in the claim for a bigger audience (with a class strategy, an iconography full of mass products and the possibilities of prints). Moreover, not only the graphic works stem from the hand, but pop drawing overwhelms the solely issue of creation processes to exist in an autonomous corpus of works, which doesn’t fall into the finalist schema. This presence points how critical may be the body, through drawing, as an image and as an action. Similary to Claes Oldenburg and David Hockney who oppose a manual tension to the social mechanized expressions – and there lay the double sense of the very notion of involvement which is to be understood in Pop art in the same time on a physical and a political level – the reinvolvement of the body by way of portrait or nude shows its solidarity with the fights in the wake of the sixties, fight for sexual liberation, or women rights
Royer, Ludovic. « Le territoire de Krasnoïarsk sous la direction d'Alexandre Lebed : enjeux géopolitiques : une illustration de la Russie contemporaine ». Paris 8, 2005. http://www.theses.fr/2005PA082531.
Texte intégralIn June 1996, Gen. Lebed came third in the first ballot of the presidential elections that were going to lead to Boris Yeltsin's re-election. After a short period at the summit of the Russian power, Alexander Lebed became involved in a new political battle which was meant to open the Kremlin's gates to him after he first won regional political power. After Lebed's election in the Krasnoyarsk Territory, the great wealth of the region, which is the source of financial means for his future campaign for the presidency, over which people from the field of politics as well as economics were soon competing. In this struggle where everyone tried to take the lion's share, Alexander Lebed found himself in the middle of merciless wars between powerful groups run by oligarchs. Unable to seize the levers of economic power, Governor Lebed had, moreover, to face the challenge of regional nationalism. Regularly on a war footing because of property redistribution, Alexander Lebed died in April 2002
LISSONI, ELENA. « LA STORIA ILLUSTRATA : LODIVICO POGLIAGHI TRA ACCADEMIA E MODERNITA' (1857-1950) ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/745.
Texte intégralThe research reconstructs in the international historical and critical frame the complex and wide artistic personality of Lodovico Pogliaghi - painter, sculptor, decorator, illustrator active from the end of nineteenth to the mid-twentieth century. His illustrations reveal artist’s relationships to tradition, history painting, photograph, poster art and silent cinema in a continuous dialogue between high culture and innovative request of visual communication.
LISSONI, ELENA. « LA STORIA ILLUSTRATA : LODIVICO POGLIAGHI TRA ACCADEMIA E MODERNITA' (1857-1950) ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/745.
Texte intégralThe research reconstructs in the international historical and critical frame the complex and wide artistic personality of Lodovico Pogliaghi - painter, sculptor, decorator, illustrator active from the end of nineteenth to the mid-twentieth century. His illustrations reveal artist’s relationships to tradition, history painting, photograph, poster art and silent cinema in a continuous dialogue between high culture and innovative request of visual communication.
Chabaud, Sandrine. « Sémiologies et entreprise de 1950 à l'an 2000 en France : vers la construction des discours identitaires et institutionnels des méga-marques médiatiques ». Paris 2, 2007. http://www.theses.fr/2007PA020027.
Texte intégralMaillard, Sophie. « Pharmacie, pharmacien et médicament à travers le dessin de presse (1950-2000) ». Bordeaux 2, 2000. http://www.theses.fr/2000BOR2P098.
Texte intégralMoreau, Florence. « Pour une histoire culturelle du magazine "LIFE" dans les années 1950 : mythe, photojournalisme et rhétorique de l'image au service d'une culture visuelle américaine ». Paris 7, 2012. http://www.theses.fr/2012PA070056.
Texte intégralAs a leading 20 Century American photojournalism magazine, Life benefits from a prestigious aura turning it into an iconic entity — in press history, scholars usually refer to Life as a paragon of picture magazine when in the meantime Life plays a part in collective history as a Visual record of 20th Century American society -. The first part of this doctoral dissertation dedicated to examining the historiography of Life, explores the emblematic status held by Life, both on the academic field of press history and American studies. As a mainstream culture artifact, and under the impulsion of the counterculture of the 1960s, Life has largely been criticized for being a conservative media. Due to a dissatisfaction with the ideological critique towards Life — which often reduces the study of its editorial content to political issues — the second part of this work focuses on Life's editorial practices, so as to understand how its news content serves the establishment of a Visual culture, rather than offers a sole political statement. These first two parts are preliminary to the main purpose of this doctoral dissertation, which is to identify and analyze the main stakes that are raised when considering Life as a cultural artifact. Thus, the scope of the third part is to investigate Life's use of photography as means to celebrate and evaluate the cultural references the magazine highlights. The corpus of this investigation is a series of case studies, based on a selection of photo-essays published in Life during the early 1950s, when the magazine reached its golden age, so as to revisit this overrated area
Galland, Jean-Michel. « L'édition illustrée de l'entre-deux-guerres à travers l'œuvre de trois de ses acteurs, Clément Serveau, Jean-Gabriel Daragnès et Daniel Henry Kahnweiler : une approche socio-esthétique ». Thesis, Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLN001.
Texte intégralThe purpose of this thesis is to understand and explain the literary illustration, a major artistic practice in France between the world wars. The careers and the publications of three actors of the illustrated edition in that period, Daniel Henry Kahnweiler, Jean-Gabriel Daragnès and Clément Serveau, are first closely examined in order to offer a first level of explanation of these bodies of works, viewed at this stage through the lenses of personality and context. A socio-aesthetic analysis of this activity as a whole is then developed, based on the theories of Pierre Bourdieu. The structures, during the period between the wars, of the fields of illustration, art and literature are described. A model, both conceptual and experimental, of the literary illustration is proposed. This tool, able to explain the characteristics of the works and the careers of the illustrators, is used to revisit the interpretation of the three studied corpora
Daniel, Hugo. « Les Voies du dessin : statut et redéfinitions du dessin dans les avant-gardes occidentales des années 1950-1960 ». Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010547.
Texte intégralDrawing is hardly studied in works of art history focusing on the 1950s and 1960s. This fact is all the more surprising that many artists, such as Rauschenberg, Hesse, Tinguely, Twombly, Michaux or Lebel, but also critics, gallerists and curators took notice of the medium at that time.Drawing must be defined according to its operations and analyzed in its relationshipwith other media. It is approached as a practice. This project is based on a material, culturaland social understanding of art history, it relies on the study of drawings, but also on archive documents and interviews with major figures of the period. From the working process of artists, to the changing discourses of critics and therenewed interest of curators and gallerists, drawing is redefined as a complex object. It allows artists to deal with the flow of images that characterizes the 1950s and 1960s. It also takes on an experimental quality because of its association to the thought process. Psychiatrists andartists have used the practice of drawing to better understand the mind. Whether it is used as an origin of art or as a marginal space implying specific experiences, drawing in the 1950sand 1960s is multi-faceted and is studied as such
Mannala, Thaís. « Melindrosas e garotas : representações de feminilidades nos traços de J. Carlos (1922-1930) e Alceu Penna (1938-1946) ». Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/1187.
Texte intégralNo presente trabalho serão analisadas representações de feminilidades em dois periódicos distintos: as Melindrosas na revista Para Todos... e a coluna Garotas na revista O Cruzeiro. Os recortes compreendem os anos de 1922 a 1930 para as Melindrosas e de 1938 a 1946 para as Garotas, privilegiando uma sequência entre décadas subsequentes, de modo a entender como as representações de feminilidades se modificaram ou se mantiveram. Interessa também investigar de que maneira o humor e a visualidade contribuíram para normatizar papéis e relações entre gênero, em conjunto com políticas públicas. As revistas visavam trazer a identificação com discursos hierarquizantes, atuando como pedagogia de gênero. Contudo, percebe-se que o humor buscou, nas fissuras das representações, a dupla moral, na qual as mulheres negociavam espaços de atuação e liberdade. Tanto Melindrosas quanto Garotas possuíam táticas de convencimento e de sedução que as levaram a realizar desejos e a conquistar alguns de seus objetivos. Elas questionaram e enfatizaram as contradições e tensões das respectivas décadas. Por vezes, indicavam pretextos para pensar nas mudanças sociais, de comportamentos e no modo como os homens se colocavam neste quadro.
In the present work femininity representations will be analyzed in two separate journals: the Flappers in the magazine Para Todos... and the Garotas column in the magazine O Cruzeiro. The cuts include the period from 1922 to 1930 for the Flappers and 1938-1946 for Garotas, favoring to a sequence of subsequent decades, in order to understand how representations of femininity have changed or remained. We also want to investigate how the mood and visuality contributed to standardize roles and relationships between gender, together with public policy. Magazines aimed to bring identification with hierarchized speeches, acting as gender pedagogy. However, we notice that humor sought in the fissures of the representations, the double standard, in which women were negotiated spaces of action and freedom. Both the Flappers and the Garotas used tactics to convince and seduction that led them to grant wishes and achieve some of their goals. They questioned and emphasized the contradictions and tensions of their respective decades. Sometimes indicated pretexts to think about the social changes of behavior and how men were placed in this board.
Hollows, Emma. « Kofifi/Covfefe : How the Costumes of "Sophiatown" Bring 1950s South Africa to Western Massachusetts in 2020 ». 2020. https://scholarworks.umass.edu/masters_theses_2/933.
Texte intégralLin, Shu-Yuan, et 林淑媛. « Analysis of Illustration Style Transformation in the Chinese Literature Textbook in First and Second Grade of Taiwanese Elementary Schools— A study focus on the versions between 1950 to 2001 ». Thesis, 2004. http://ndltd.ncl.edu.tw/handle/32731813997094248172.
Texte intégral國立雲林科技大學
視覺傳達設計系碩士班
92
The man shaft of this study is “Documents Investigation Method”, supplemented by the interviews on the experts and the style analysis of the illustration, the content consists of illustration in Chinese Literature textbooks of first and second grades of Elementary Schools published between 1950 and 2001, while the objectives of the study being: 1. Discussing the historical significance of the content reflected by the illustrations. 2. Analyzing expression features of these illustrations for special literature forms in various stages. 3. Generalizing the evolution process of the illustration styles. The outcomes of the research are stated as follows: A. Historical significance reflected by the content of the illustrations: from the theme presented by the illustrations during the versions between 1950 and the 1968, the theme “Medical Health Care” back then reflected the content of the governmental propaganda of disease prevention and personal hygiene. Moreover, the theme of “Patriotic Spirit” was under tremendous influence of the political situation when Taiwan was first restored from Japanese colonial rule, and the government was eager to inspire the patriotic spirit and thinking in children by means of the content and illustrations in the textbooks. The settings for the illustrations were also transformed from natural environment to modern urban environment and from traditional single-stored houses to skyscrapers; among them we only find the settings of rural villages appearing in the early editions. The transformation of farm tool images in the illustrations from original human and animal labor, gradually to mechanical equipments nowadays, reflects the developing process of agricultural mechanization in Taiwan. Furthermore, the analysis of “characters’ costumes” in the illustrations indicates that the dressing of characters evolved from “traditional Chinese costumes” gradually to “modern costumes”. The costume of teacher characters in the illustration evolved from cheongsam to modern customs, the transformation of which precisely corresponds to the development of modern fashion trend in Taiwan, and thus serves as one of the records of dressing developing track in Taiwan. The costumes of student characters in the illustrations transformed from “traditional Chinese uniforms” gradually to casual clothes, which reflects the transformation of students’ dressing culture with the promotion of different educational policies and epoch progress. B. The transformation of illustration style: through the analysis of the illustration styles, we found the same characteristics among versions of different stages, such as the expression medium has always been water-paint; and the skill adopted to depict motions has always been “freezing the actions”, with very few other animation skills implicated; the shootings demonstrates were largely “independent shootings”. In the study, the evolution of the illustration style is divided into three stages: the early stage of versions between 1950 and 1966, the middle stage of versions between 1968 to 1983, and the later stage of version between 1994 and 2001. Listed below are the evolution process of the illustration styles: 1. The transformation of “styles”: the style of versions in early and middle stages were more realistic, while versions in later stage were centralized mostly on expression of conceptualization and patternization. 2. The transformation of “animal behaviors”: in versions of early and middle stages, the illustrators expressed the behavior features of animals through realistic styles, while in the versions of later stage, they concentrated mostly on the skill of “personification”. 3. The expression skill of “contour-lines”: from the versions in early stage in 1950 and 1957, the width of the contour-lines shown in one illustration remained the same; in middle stage, the contour-lines demonstrated were characteristic of calligraphy strokes; while the contour-lines depicted by illustrators in later stage were gradually diversified. 4. The expression of “texture”: except for in the version of 1968, illustrators in each stage only represented the texture of articles with color application. 5. The expression of “color tones”: in the version in 1950, as the printing skill then was limited to black-and-white, we cannot see much altercation of color-tones. In the version of 1957, more pure color-tone expression has emerged. In the version of 1966, the color tone was characteristic of high color-degree and medium transparency degrees, therefore the effects produced were bright colors and rich color-tones. In the version between 1968 and 1978, the color tone was characteristic of medium color-degree and medium transparency degree, with the touch of primitive simplicity image. From 1983 to 2001, the color tone expressed was returned again to high color-degree and medium transparency.
Polonyiová, Veronika. « Ilustrace přebalů notových záznamů české populární hudby v první polovině 20. století ». Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-448974.
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