Letteratura scientifica selezionata sul tema "Bretagne dans l'art"
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Articoli di riviste sul tema "Bretagne dans l'art"
Parks, W. Hays. "Le protocole sur les armes incendiaires". Revue Internationale de la Croix-Rouge 72, n. 786 (dicembre 1990): 584–604. http://dx.doi.org/10.1017/s0035336100005128.
Testo completoPomian, Krzysztof. "Collections et Musées (note critique)". Annales. Histoire, Sciences Sociales 48, n. 6 (dicembre 1993): 1381–401. http://dx.doi.org/10.3406/ahess.1993.279221.
Testo completoTesi sul tema "Bretagne dans l'art"
Lecerf, Guy. "Le coloris dans l'art des jardins : théories en France et en Angleterre, 1820-1930". Paris 1, 1991. http://www.theses.fr/1991PA010644.
Testo completoAdrien, Muriel Monique Madeleine. "A perte de vue : parcours dans les lumières d'une sélection de peintures anglaises de la fin du XVIIIème et du début du XIXème siècles". Université Marc Bloch (Strasbourg) (1971-2008), 2007. http://www.theses.fr/2007STR20029.
Testo completoThe present work studies the way light is tackled and pictured in a selection of paintings of the Enlightenment period, in relation to the epistemology of the time, together with the technical and theatrical appropriation of lighting. In the empirical context of the Enlightening, scientific observation of the sky somewhat replaced the theological heavens. Our landscape painters (Towne, Cotman, Gainsborough, Constable, Cox) drew their palette from this was blank canvas, as well as their pictorial scheme- the cloud : an empirical trope, both denoting and disturbing space and representation. In parallel, the advent of artificial public and theatrical lighting encouraged a Promothean type of painting (Wright of Derby, Martin, Loutherbourg), one that was encroached on by the shadows of the Enlightening, which provided its inspiration, design, background and substance. As for Turner, he strove to represent light more frontally, and render visuality rather than visibility : how could the aporia of light be solved, in so far as light rules over what can be see, and yet cannot itself be seen ?
Morin-Prevot, Magali. "L'image du souverain en milieu anglais de Hastings au début de la guerre de Cent Ans". Paris 10, 2002. http://www.theses.fr/2002PA100189.
Testo completoStarting from the conquest of Hastings up to the start of the Hundred Years' War, the english king asserted his authority in a decisive manner within the christianized West, which at the same time was experiencing a significant upheaval and rebalancing between the various powers. Historical texts enable us to confirm this progression in front of the church, the major vassal powers, including foreign dignities. Netherless, it is important not to underestimate the use of images and edifices which contributed to this process. They were used as an immediate and tangible demonstration of regal power as well as leaving a permanent trace of their presence. The study of documentation from diverse artistic sources dating from english society during this period, notably coming from traditional, historie and legendary data, shows us elements set up by oponents in order to counteract this magnification of the king and thus creating a perpetual readjustement of the royal image ; by comparing similiar behaviour relating to other powerful princes living during the same time period, we are able to gain a clearer definition of the english phenomena. This study aims to distinguish between the methods used by the players in order to embelish their image, thus creating a monarchie ideôlogy, and rather to follow the progressive development of kingship
Prevel-Montagne, Corinne. "La représentation des grands hommes dans la sculpture publique commémorative en Bretagne : 1685-1945 : les pratiques, les sculptures et les oeuvres". Rennes 2, 2003. http://www.theses.fr/2003REN20009.
Testo completoThe @public statutory represents a large artistic patrimony forsaken for a long time by history of art. In Brittany, on hundred and nineteen monuments have been erected to great men between 1685 and 1945. Initiatives from local councils or private commissions succeed to royal orders. They set up more democratic practices in the choice of the sculptors and the financings. In the end of the ninetenth century, the statue-mania, inspired by the egalitarian ideals of the Revolution, follows republican propaganda. In Brittany, its growth is rather slow til the Second Empire and reaches its golden age during the Third Republic in spite of some legitimist and religious oppositions. All sculptors come from Paris Academy of Art and produce conventional works inspired by David d'Angers. But in the early twenties, the emergence of regional culture give a new inspiration to this sculpture
Lassus, Saint-Geniès Gabrielle de. "La figure mariale dans les arts en Angleterre au XIXe siècle". Paris, EPHE, 2013. http://www.theses.fr/2013EPHE5001.
Testo completoWell over a century after the end of the Victorian era, one can still attract a new perspective on the iconography of female British art of this period by observing the representations of Marian resurgence. The return of the Virgin Mary figure in England appears to be problematic in many aspects - artistic, moral, social, historic and religious - which this thesis attempts to analyze. This thesis also seeks to understand and demonstrate how and why this country, in light of the fierce resistance of such representation once distinctive of the political and religious view in Britain, has shifted from an almost non-existent stance of such movement into its acceptance in a nineteen century of eclecticism and internationalism. Moreover, this thesis aims on one hand to defend the idea of an unfamiliar but genuine "English Madonna" and on the other hand to further establish the very fact of Marian resurgence in British cultural and geographical milieu. Likewise, this thesis will examine the influence of the Royal Academy of Arts, the Oxford Movement, the Catholic Revival, the Grand Tour, Romanticism, the Gothic Revival, Nazarene and Pre-Raphaelite movement, Orientalism, Aestheticism and Symbolism. Herewith, the following diverse arts are taken into consideration: painting, sculpture, architecture, music, stained glass, engraving, book art, poetry, jewelry, literature, textiles and photography. These unorthodox representations intermingle with those of Queen Victoria and those of the English woman, offering a unique phenomenon of a sacred iconography, namely the worship of "Madonnas secular" through an explicitly Marian or implicitly sacred inspirational image
Chassagnol, Anne. "La renaissance féerique dans les contes et les tableaux de fées en Grande-Bretagne de 1840 à 1870". Paris 10, 2006. http://www.theses.fr/2006PA100064.
Testo completoBetween 1840 and 1870, the fairy, long banished from Britain, exerted itself in a number of fields, notably in tales and in paintings. The majority of the great Victorian novelists, such as Charles Dickens, William. M. Thackeray and John Ruskin published fairytales. The motif of the renaissance, that of revival or even birth, appears in numerous works featuring fairy themes. This comparative study aims to explain the modalities of the return of the fairy, which occurred much later than in other countries, but is nonetheless characteristic of British culture. This thesis seeks to bring to light the originality of a renaissance that seems paradoxical. On the one hand, the Victorian fairy nostalgically evoked a lost golden age, both rural and pre-industrial; on the other hand, it was nourished by numerous scientific discoveries of the period, such as in biology, geology, medicine, botany and entomology. Far from being cut-off from the world in which it emerged, the fairy is inspired and has never been closer to it, now providing a final bastion that refuses to yield to the power of scientific equations. Text and image are intimately linked in this field. Numerous artists were inspired by the work of Shakespeare and, similarly, fairy tales exhibit a pictorial dimension. The representation of the fairy oscillates between visibility and invisibility, the legibility and illegibility, enabling it to address several types of readers or viewers, often at the frontier of eroticism
Desfontaine, Muriel. "Aspects de la personnification de la Mort en Bretagne dans les arts et la littérature à travers les siècles". Rennes 2, 2003. http://www.theses.fr/2003REN20042.
Testo completoThis thesis is a study of different aspects of the personnification of death in Brittany (l'Ankou). It looks into the the characters of the celtic religion and of the Arthurian literature that could represent its ancestors. It also shows the influence that the theme of the gruesome within the Occident during the end of the Middle Age had on written culture in East Brittany, the area of contact and exchange that influenced the representations of death in Brittany. Death gets personnified in religious works : in missionary paintings, on cult statues and in canticles. It is also found within literature in breton language, as early as the time of middle-breton. Futhermore, it is found in breton popular drama, as well as in popular tales (third and fourth parts). Each literature style has cared personality of its own out the character. Death has as many features as there are works that feature it
Melia, Juliette. ""Ceci est mon corps" : l'intime et l'extime dans l'autoportrait photographique contemporain (États-Unis, Grande-Bretagne, 1970-2010)". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC243.
Testo completoThe corpus of photographic self-portraits from the 1970s to the 2010s highlights three invariants in the ways artists present themselves : they use masquerade, nudity or add texts to their self-portraits. Each of these themes interacts with the larger issues of intimacy, extimacy, and politics, as using one’s intimate image in one’s art often emphasizes one’s views on the world. Some artists obfuscate their identity and present themselves in a total or partial masquerade that questions the value of the mask. Its choice, as well as the perceptible space between mask and face, paradoxically reveal aspects of the artist’s identity, as does Cindy Sherman whose appearance is eventually blurred by the hundreds of self-portraits, but whose politics of rewriting society’s representational stereotypes is well-known. If the masquerading self-portrait seems to diffuse the very possibility of intimacy, the nude self-portrait give the impression of a total revelation of intimacy, so much so that it become extimacy when it is shared with the public and allows a conversation to take place. Here too, artists who reveal their own bodies are political, because they refuse social norms and taboos such as the interdiction to picture one’s own desire and sexuality. A new depth in the extimisation of intimacy happens when the photographer associates texts to his self-portraits. However, artists are seldom tautological: on the contrary they reveal themselves through texts that make use of every freedom, from autobiography to fiction and poem, from diary to political manifesto. The point is to question the paradox of intimate art: why risk the aporia of intimate art, which destroys itself to happen when the artist shares his pain and his secret? Overcoming the pain of intimate art is at the heart of the politics of such a process
Gillet, Fanny. "Saisie/dessaisissement : enjeux de l'unité texte/image chez Keats, Tennyson, Rossetti et dans l'art préraphaélite". Toulouse 2, 2008. http://www.theses.fr/2008TOU20101.
Testo completoThis dissertation on word and image focuses on the relationship connecting Keats, Tennyson, Rossetti's poetry and Pre-Raphaelite art, be it through visual representations of poems, ekphrastic works, illustrated books, or Rossetti's “double works” of art linking poem and painting. This strong link partly results from the persistence in nineteenth-century England of the powerful tradition of ut pictura poesis, a comparison by Horace which has been used to blend poetry and painting, as if they were mirror images of each other. However, since they remain heterogeneous forms of art, each with its own codes and modes of apprehension, we can wonder whether simultaneous perception may entail no uneasiness. Indeed, being a reader/viewer implies, from the very start, abandoning some habits of perception. Even as we try to maintain the uniqueness of each work of art, doublings, mirroring effects debunk stable interpretation. If we admit this form of amazement implied by word and image, there might be a way of considering them as a whole, each aspiring to find completeness by including the other: only then may they become inseparable “halves”. There still exists a potentially painful interstice between the two that the art of inachievement, through sketches or suspension, sublimates, creating a more complex unity, a dynamic process aiming to grasp both poetry and painting, in which the reader/viewer enters the path of labyrinthine a(maze)ment
Boraso, Marina. "Enfances victoriennes et edwardiennes : étude sur la place de l'enfant dans la littérature et l'iconographie". Toulouse 2, 1999. http://www.theses.fr/1999TOU20060.
Testo completoLibri sul tema "Bretagne dans l'art"
Arlaux, Claire. Le dragon en Bretagne: Mythes et symboles. Gourin [France]: Keltia graphic éditions, 2000.
Cerca il testo completoCollange-Perugi, Adeline, Julien Alexis e Guillaume Kazerouni. Éloge du sentiment et de la sensibilité: Peintures françaises du XVIIIe siècle des collections de Bretagne. Gand: Snoeck, 2019.
Cerca il testo completoBritain), National Gallery (Great, a cura di. An illustrated dictionary of narrative painting. London: John Murray in association with National Gallery Publications, 1994.
Cerca il testo completoTreuherz, Julian. Hard times: Social realism in Victorian art. London: Lund Humphries in association with Manchester City Art Galleries, and Moyer Bell, Mt. Kisco, New York, 1987.
Cerca il testo completoMathurin Méheut: 1882-1958. Morlaix, France: Le Télégramme, 1997.
Cerca il testo completoLa Bretagne de Mathurin Meheut. Musée Mathurine Méheut / Éditions Langlaude, 2005.
Cerca il testo completoArlaux, Claire. Le Dragon en Bretagne. Imprimerie Keltia Graphic, 2000.
Cerca il testo completoTreuherz, Julian. Hard Times: Social Realism in Victorian Art. Lund Humphries Publishers, 1993.
Cerca il testo completoTreuherz, Julian. Hard Times: Social Realism in Victorian Art. Moyer Bell Ltd., 1988.
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