Letteratura scientifica selezionata sul tema "Art roman – France (sud)"
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Articoli di riviste sul tema "Art roman – France (sud)":
Nejedlý, Martin. "Fauvel en bohême ? Réflexions sur la diffusion d’un thème littéraire et iconographique au xiv e siècle". Revue du Nord 446, n. 2 (14 marzo 2023): 315–29. http://dx.doi.org/10.3917/rdn.1446.0315.
Jankovic, Zeljka. "Les relations éducatives entre la Serbie et la France dans la période 1936-1940". Prilozi za knjizevnost, jezik, istoriju i folklor, n. 82 (2016): 119–37. http://dx.doi.org/10.2298/pkjif1682119j.
Manan, Nuraini A. "Kemajuan dan Kemunduran Peradaban Islam di Eropa (711M-1492M)". Jurnal Adabiya 21, n. 1 (17 luglio 2020): 54. http://dx.doi.org/10.22373/adabiya.v21i1.6454.
Pigeaud, Romain. "Passage, transformation et Art Schématique. L'exemple des Peintures Néolithiques du Sud de la France". L'Anthropologie 108, n. 2 (aprile 2004): 301–3. http://dx.doi.org/10.1016/j.anthro.2004.05.012.
Miles, Margaret M. "Cicero's Prosecution of Gaius Verres: A Roman View of the Ethics of Acquisition of Art". International Journal of Cultural Property 11, n. 1 (gennaio 2002): 28–49. http://dx.doi.org/10.1017/s0940739102771567.
Dillon, Emma. "The Art of Interpolation in the Roman de Fauvel". Journal of Musicology 19, n. 2 (2002): 223–63. http://dx.doi.org/10.1525/jm.2002.19.2.223.
Pomp, Joseph. "France as author of world cinema: International co-production and the Fonds Sud, 1984–2012". French Cultural Studies 31, n. 2 (maggio 2020): 111–23. http://dx.doi.org/10.1177/0957155820910858.
Delille, Damien F. "Symbolist Androgyny: On the Origins of a Proto-Queer Vision". Arts 13, n. 3 (20 maggio 2024): 90. http://dx.doi.org/10.3390/arts13030090.
Pennec, Anna Le. "Des femmes et des dieux dans la prison-couvent du sud de la France au XIXe siècle". Annales du Midi : revue archéologique, historique et philologique de la France méridionale 131, n. 307 (2019): 457–73. http://dx.doi.org/10.3406/anami.2019.9005.
Lanceva, A. M. "Exhibition Сzech and Кoman King Wenceslas IV: «Beautiful Style» of Gothic Art. On the 600th Anniversary of the Death of the Czech King". Concept: philosophy, religion, culture, n. 1 (7 luglio 2020): 186–93. http://dx.doi.org/10.24833/2541-8831-2020-1-13-186-193.
Tesi sul tema "Art roman – France (sud)":
Raimondo, Alexia. "La représentation des prophètes dans le Midi de la France (1000-1250)". Toulouse 2, 2008. http://www.theses.fr/2008TOU20086.
The prophets representation in South of France between 1000 and 1250 has never been studied before. The previous works on this matter have solely concerned the first Christian Art period or Northern Gothic Art. Despite the creative art of the romanesque art in South of France prophets images have barely drawn interest. The iconographic analysis is made of three parts. It firstly focuses on the study of images prior to one thousand, in order to establish the origins and the reasons of these prophets representations. It is also necessary to evaluate if these romanesque pictures are the translation of existing schemes, or the consequence of a creative desire. Then the analysis focuses on exegetics writings and thoughts of clerical and intellectual circles which have often influenced iconography. Furthermore it was necessary to analyse representation of the religious theatre which sometimes contains prophets processions, ordines prophetarum. Finally, corpus images are studied from a formal standpoint and also through the analysis of different iconographic programs that surround the prophets representations, allowing to express multiple symbols that are contained in these pictures
Molinié, Sandrine. "L'iconographie du diable dans la sculpture romane du Midi de la France et du Nord de l'Espagne". Toulouse 2, 2008. http://www.theses.fr/2008TOU20057.
Towards the year thousand, the religious, social and political context favours the emergency of the devil's image. The eschatology is heavy, the Church becomes threatening, and its speech is founded on the hell fear. On and after this period, different artists, essentially sculptors, try to retrace the physique and the personality of this creature. The expression of its anthropologist form is really going to explicit and light up. All this is so ambiguous, the devil is so horrible that it becomes difficult to represent. It's only vision may be dangerous, sometimes mortal. Its image is paradoxal, no one sees it, and nevertheless everyone should recognize it. This complexity, between its definition and its representation, brings out three properties used to show its demoniac character and to make its portrait: the aggressivity, the abnormality and the immateriality. The sculptures' analysis of the South of France and the North of Spain allows exploring three specificities: the interpretation of each detail becomes important in the signification of the devil's image. This enigmatical being fed the imaginary of the people from the 11th and the 12th century. The artists endeavoured to intensify it's malefic by the ugliness, the deformation, but also the bestiality. Symbol of the very evil, the devil is its incarnation. Giving offence to the devil, the artists wanted to win it over and, in a way, to get it under control. Abject and mysterious at the same time, this strange creature is the representation of their fears the deepest and of their unconfessed phantasms
Hacia el año mil, el contexto, tanto religioso que social y político, favorece la emergiancia de la imagen del diablo. La escatología es pesada, la Iglesia se vuelve amenazadora, funda su discurso sobre el temor del infierno. A partir de este período, diversos artistas, esencialmente escultores, se esfuerzan de describir el físico y la personalidad de esta criatura. La expresión de su forma antropomorfa verdaderamente va a precisarse y desarrollarse. Emana de ella una ambigüedad, el diablo es tan horrible, que llega a ser difícil representarlo. Sólo su visión puede ser peligrosa, a veces mortal. Su imagen es paradójica, nadie lo ve sin embargo todo el mundo debe reconocerlo. Esta complejidad, entre su definición y su representación, hace resaltar tres propriedades utilizadas para designar su natural demoniaco y para elaborar su retrato : la agresividad, la anormalidad y la inmaterialidad. La análisis de las esculturas del Mediodía Francés y del Norte de España permite de explorar estas tres especifidades ; la traducción de cada detalle aparece importante en la significación de la imagen del diablo. Este ser enigmático ha alimentado lo imaginario de los hombres del XI y del siglo XII. Los artistas han buscado a intensifiar su maleficio por la fealdad, la deformación, pero también por la bestialidad. Símbolo mismo del Mal, el diablo es la encarnación de el. Formalizandolo, los artistas han querido canalizarlo y en una cierta medida dominarlo. Abyecta y misteriosa a la vez, esta extraña criatura es la representación de sus temores los más profundos y de sus fantasmas no confesados
Coulangeon, Cécile. "L’architecture religieuse des Xe et XIe siècles dans le sud-est du Domaine royal capétien". Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100155.
The southeast of the Capetian royal Domain remained for a long time unknown by studies on the beginnings of Romasnesque architecture. This is largely connected to the marginal position which it occupies compared with the large sets of the historiography, an established fact which ensues as we had the opportunity to show it of a long historic evolution since the Celtic period when the zone was subdivided between Sénons and Carnutes. The first Capetian sovereigns however carried a particular interest in this region, trying in the 11th century to unify the space between their three big centers : Orléans, Étampes and Melun, in front of pushes of their bléso-champenois rivals. The architectural activity then seems to be in full swing, with very numerous constructions, certainly secondary, but testifying of a certain architectural dynamism at that time. The examination of the most important buildings, confronted with the other key realizations led by the Capetians in the rest of their royal Domain, allows us to envisage the development of a artistic policy, favoring certain architectural monumental forms as tower-hall and harmonious bedhead, in a clear will on behalf of the new sovereigns to stand out visually in the landscape, to position in heirs of their Carolingian predecessors and to stand out in front of their ottonian contemporaries, by taking back their most symbolic architectural forms. These results can’t hide on the other hand questions left unsettled, in particular as regards the datings of buildings considered here. The architecture indeed seems rather uniform, between walls with small rubbles, opus spicatum, re-uses of high-medieval sarcophagus, and beginnings of carved stone ; and the generally admitted criteria of dating oppose those of the rare preserved decorations
Ducret, Sophie. "La fabrique de la création artistique : Approche historiographique et épistémologique du processus de la commande au Moyen Âge : l’exemple des peintures murales du Midi de la France aux âges romans (XIe-XIIe siècle)". Electronic Thesis or Diss., Montpellier 3, 2023. http://www.theses.fr/2023MON30047.
Since its 'rediscovery' in the 19th century, the practice of wall painting in the Romanesqueages has benefited from a long tradition of study in France and Europe. This historiography is based on developments in a fairly recent field of study, but has been enriched by epistemological developments in related disciplines, such as history and the social sciences more generally. Following on from recent research into the players involved in artistic creation, particularly in the field of mural painting, our thesis focuses on an essential player in production traditionally referred to as the 'patrons'. On the basis of a corpus of 30 ensembles preserved in the South of France, most of which date from the twelfth century, and faced with a silence in the historical sources, we have confronted the question of 'commissioning'. The historiographical approach enables us to put into perspective certain knowledge we have gained on the subject, and to propose a new vision of artistic creation
Jaluzot, Pascal. "Architecture et décor des clochers des églises rurales en Bourgogne du Sud ( XIe - XIIe siècles)". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H021/document.
This thesis studies South Burgundy small rural churches steeple focusing on their 11th-12th centuries architecture and wall decoration. These two elements can be either connected or unrelated. This opens the door to erroneous judgments when both are approached into a single classification. In fact, the first impression mural a decoration often conveys is reminiscent of the "first Romanesque art". However, building a wall out of simply squared rubble stones and heavy mortar corresponds to the proper use of available materials and does not automatically classify the steeples in "first Romanesque art". The analysis of constructive and decorative choices made by master masons and sponsoring benefactors across the corpus of 112 steeples considered in this research reveals the existence of a typical "standard" bell tower constructive design to which a mural decoration is added. This highlights the existence of a clear constant: the choice of construction materials, simple expensive, low-tech, while also fashionable. The recurrence of this model has played a unifying role in the Christian landscape the resulting from and aspired to by the Gregorian reform
Nicolier, Anelise. "La construction d'un paysage monumental religieux en Brionnais à l'époque romane". Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20120/document.
Located in South Burgundy, France, the region known as the Brionnais appears, at first glance, to be a 12th Century spontaneous by-product. It is indeed neither a natural region, nor is it of ecclesiastical division. However, in a time where frontiers separated France and Burgundy, and later the Empire, a sort of contingency will mend this disparate and marginal territory into a singularly defined region. The Brionnais will form itself through willful policies thanks to the active presence of the Semur and Le Blanc lordships. The lords of the Brionnais will form connections with neighboring lords through games of alliances and rivalries, as well as through the ecclesiastical careers of certain of their members. The result: an inland solidity, an openness to the adjacent regions; places of worship, churches and monasteries flourish in mere decades in order to construct a singular landscape of religious monuments. The latter will precisely be marked by an originality sure of itself in order to seek, adopt, interpret and make bear fruit of its influences. In all, political and artistic network as well as the religious fabrics will create an ensemble of truly rich interactions. This allowed us to renew our view on this original domain, the paradox being that the latter didn’t survive up to the 12th Century without any loss or modification, and that, under Romanesque appearances, the present Brionnais landscape was actually mainly constructed in the 19th Century! Guided by traces and documentation, I proceeded through a regressive analysis, scouring through time, in order to carefully reconstruct the history of theRomanesque Brionnais religious monuments. Going back through the contemporary and modern religious heritage, I was able go as far back as the 9th Century, thus far ignored by research: indeed, until now, research only concentrated on churches conserved above ground, whereas more than half of the churches built between the 9th and 12th Century disappeared from the observable surface. The first result is of paramount importance: we can now follow the parochial structure genesis, like a shift from an agri and villae division to a parochiae network. Once the heritage and political and ecclesiastical geography reproduced, it appeared that the particular context of the Brionnais region gave birth to a particular religiousn architecture, notably thanks to the study of the monuments’ morphology, its style, and tothe attention given to the stone used, from its provision to the work and result itself. Hence, the original profile of the Brionnais architecture. The detail of the analysis show true invention, hatched from the builders’ ability to draw formes and techniques from various repertoires to give birth to unprecedented creations.Naturally, considering the abundant Brionnais Romanesque historiography (notably the sculptured decor), I cross-checked sources of reflection, monuments, textes and images, associating construction archeology, art history, geology and history. Coming back to the paradoxical aspect, I kept the interest of favoring the 12th Century the time of History, and the Modern era, for example, spoke quite a lot about of the Romanesque Brionnais
Benard, Alain. "L'art rupestre du sud de l'Île-de-France". Paris 1, 2010. http://www.theses.fr/2010PA010620.
Linder, Inge E. "Pilgrimage to the millennium : sacred art and architecture in late twentieth-century France". Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342183.
Ruellan, Patrice. "Philippe Caubère, le roman d'un auteur". Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10065.
Jullian, Martine. "Formalisme et réalisme dans la sculpture romane en France : les occupations des mois". Paris 10, 1995. http://www.theses.fr/1995PA100196.
The corpus of sculpted Romanesque calendar in France which forms the object of the thesis constitutes 33 cycles, spread over 32 monuments. Each calendar receives an individual notice in which are exposed the principal problems of each, and where every scene is meticulously described and identified (volume II). The study of this corpus revolts around four points (volume I). The situation of the calendar in terms of space as much as time is grouped: the majority is implanted in a crescent spreading from lands region to burgundy and was carved between 1140-1160. In the building, the privileged position of the calendars (west facade, door way, exterior archcurves), which has helped to define a "modal architectural formula" has not been without impact on the role of theme in the church as a factor of order both spatial and in time. From the iconographical point of view, the double phenomenon of steadiness and variation has also helped to reveal a "modal iconographical formula", and mark a difference between obligatory themes and regional or individual variants. Last of all, the question is aborded as to the documentary value of sculpted calendars, works of art which were not conceived in order to capture a reality hitherto disappeared and whose aesthetic aspect must certainly be taken into consideration by the historian. The analysis of forms and themes leads to an observation of reality at the same time very fine and selective. This delicacy and selectivity within the sculptor art gives not only an undeniable documentary value to the image of material twelfth century civilization, but also a spiritual dimension. Realistic detail and at times extreme stylization, when combined at as a revealer to the expression of an ideal: fundamentally optimistic ideal of well-being
Libri sul tema "Art roman – France (sud)":
Coarelli, Filippo, Simone Sisani e Emidio De Albentiis. I romani in Sicilia e nel sud dell'Italia. Udine: Magnus, 2006.
Dectot, Xavier. L'art roman en France. Paris: Hazan, 2005.
Vergnolle, Eliane. L' Art roman en France: Architecture-sculpture-peinture. Paris: Flammarion, 1994.
Rotily, Jocelyne. Au sud d'Eden: Des Américains dans le sud de la France (années 1910-1940). Marseille [France]: Association culturelle France-Amérique, 2006.
Ripert, Pierre. La France monumentale: Dictionnaire-guide : préhistoire, civilisation gréco-latine, art roman et art gothique. Paris: Lafon, 1998.
Geneviève, Sennequier, Arveiller-Dulong Véronique e Association française pour l'archéologie du verre., a cura di. Les verres romains à scènes de spectacles trouvés en France. [Rouen]: Association française pour l'archéologie du verre, 1998.
Parreno, Philippe. Philippe Parreno: Exposition présentée au Centre Pompidou, Galerie Sud, du 3 juin au 7 septembre 2009. Paris: Centre Pompidou, 2009.
Parreno, Philippe. Philippe Parreno: Exposition présentée au Centre Pompidou, Galerie Sud, du 3 juin au 7 septembre 2009. Paris: Centre Pompidou, 2009.
Dieu, Lionel. La musique dans la sculpture romane en France. [St-Chély d'Aubrac, France]: Centre de développement en art et culture médiévale, 2006.
itinerari di ricerca nel Lazio meridionale (2016 II Università degli studi di Roma) Convegno A sud di Roma. A sud di Roma: Itinerari di ricerca nel Lazio meridionale : atti delle giornate di studio, 26-27 ottobre 2016, Università degli studi di Roma "Tor Vergata". [Tivoli]: Edizioni Tored, 2021.
Capitoli di libri sul tema "Art roman – France (sud)":
Raubach, Michael. "The Enduring Importance of Roman Ingarden for Reception Theory". In Roman Ingarden and Our Times: Recent Trends in Phenomenology and Contemporary Philosophy, 63–82. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381383936.04.
Hardwick, Lorna. "Isaac Rosenberg (1890–1918)". In Greek and Roman Antiquity in First World War Poetry, 57–112. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198907879.003.0004.
Effros, Bonnie. "Colliding Empires". In Objects of War, 50–77. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501720079.003.0003.
O’Meara, Lucy. "Barthes and the Lessons of Ancient Philosophy". In Interdisciplinary Barthes, 137–53. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266670.003.0009.
Effros, Bonnie. "Classical Archaeology in Algeria after 1870". In Incidental Archaeologists, 248–60. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501702105.003.0007.
Annabel, Catherine. "In the Labyrinth". In W.G. Sebald's Artistic Legacies. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729758_ch06.
Christian, Kathleen, e Bianca de Divitiis. "Introduction". In Local antiquities, local identities, 1–12. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117045.003.0001.
Atti di convegni sul tema "Art roman – France (sud)":
Abreu, Clara Habib de Salles. "A trajetória de uma anunciação proibida". In Encontro de História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4349.
Martínez Rodríguez, Carlos. "Le flux des textes français en Espagne: de Le beau Solignac (1880) de Jules Claretie à La ducha de Mariano Pina (1884)". In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3087.