Tesi sul tema "Bretagne dans l'art"
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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 completoBesson, Françoise. "Le paysage pyreneen dans les oeuvres d'ecrivains et d'artistes britanniques du dix-neuvieme siecle". Toulouse 2, 1994. http://www.theses.fr/1994TOU20012.
Testo completoThe aim of this thesis is the study of the pyrenean landscape as seen by british artists pyrenean landscape are analysed in travel books, novels, short stories, poems as well as paintings and engravings. The first part deals with the influence of cultural references on the travellers' perception of the pyrenean landscape. In the second part, the role of the gradual identification of the vegetable and animal worlds and their function in the aesthetic representation of the pyrenees are exposed. The third part is devoted to the discovery of the pyrenean landscape through the observation of the human world. From the aesthetic and historical observation of architecture to the ethnological perception of pyrenean life, those chapters illustrate the role of the human world in the perception of the landscape. And the link between the landscape and language is analysed at the end of this part. In the fourth part of this thesis, the role of the landscape in poetry and fiction, particularly in gothic novels, is analysed. One chapter explains how some of these writers have used the pyrenean landscape in the structure of their works. Finally the last part deals with the spiritual revelation of the pyrenean landscape for those travellers. The traveller's attitude in front of the mountain, the religious perception of the landscape as well as the mountain-climber's quest are analysed in that part
Kellenberger, Sonja. "Pratiques artistiques et formes de la mobilisation politique dans la ville : une approche sociologique de quatre collectifs d'artistes-activistes à Paris et à Londres". Paris 10, 2004. http://www.theses.fr/2004PA100154.
Testo completoThe protest movements of the 90s comes along, in France as in other European countries, of the reactication of an original form of the political commitment based on the artistic intervention. The participation of artists highlights the aesthetic dimensions of the mobilization and reveals the contemporary stakes in the democratization of the art as well as the role of the urban environment in the collective action. The research interrogates this phenomenom in its artistic, political and urban dimensions and their interactions from an ethnographical work about four groups of activist artists in Paris and in London. The study of hybrid groups allows to understand the modes of mobilization , participation and organization which update the militant and artistic practices
Gandrillon, Catherine. ""Albion's vital tree" : arbre, société et identité dans la peinture du portrait britannique de 1709 à 1792". Paris 7, 2003. http://www.theses.fr/2003PA070039.
Testo completoTrees often appear in the backgrounds of British portraits from 1709 to 1792. At the same time, they come under unprecedented scrutiny in economic, social, patriotic, political, artistic and scientific discourse. This research explores the specificity of the representation of trees in British portraits of the eighteenth century by establishing a link between the texts and the images of the period. Trees are undeniably considered as key elements in a representational process that aims primarily at staging cultural, social and economic identity by stressing values shared by many members of the 'polite classes'. Moreover, trees are at the heart of several myths that contribute to a new definition of national and political identity and this too impacts on portraits. Ultimately, however, the representation and physical aspect of trees also depend on individual interest in the scientific, philosophical or artistic theories of the time, and on the way the artist or the sitter understands the depiction of identity through art and the very nature of a work of art
Le, Tiec Patrick. "Mathurin Méheut (1882-1958), peintre de la vie". Rennes 2, 1991. http://www.theses.fr/1991REN20016.
Testo completoMathurin Méheut begins his career to illustrate articles in magazines and acquires national famous to exhibit in 1913, his five exhibitions will all notice by the general public. In his paintings, he sets off the animal's spontaneity, the beauty of the flora and above all artisans and traditions of his native country, Brittany which is his favourite subject. He paint too countrymen of south and south-west of France, Japan and Greece. Meheut is also decorator. He's collaborated with the national factory of Sevres and Henriot factory of Quimper; his crockerys often picture sea fauna and Brittany life. He's also taken a part in decoration of several steamers lines. At least, his arts works is known by his 40 illustrated books about the sea, the fauna and the craftsmen
Goëssant, Elodie. "George Watson-Taylor, Esq, MP (1771-1841) : collectionneur de peintures dans l’Angleterre Regency". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040135.
Testo completoEven if it isn’t well-known nowadays, the Watson-Taylor collection was indisputably one of the most important collections of the 1820s in Great Britain. It distinguished itself by the distinctive personality of its founder who assembled between 1803 and 1821 a collection as prestigious as great aristocratic ones. However, George Watson-Taylor’s wealth resting on the instable and declining West Indian sugar market, he suffered a reversal of fortune in 1832, forcing him to sell all his properties. He acquired nearly three hundred and twenty paintings including many masterpieces now exhibited in museums all over the world. Research on these collection and figure questions many aspects of the history of art and collections at this pivotal period, in particular issues like speculation, connoisseurship, art market, the role of patronage in the recognition of the British school of painting in its own country and internationally. It also treats of the historicist movement, still tinged with Romantic thought and aesthetic in that period, and of the identity issues related to the emergence of new elites. Many topics linked to a very rich context involving patriotism, debate about the abolition of slavery and political reform. It provides new information about the passage between the ways of collecting inherited from the Grand Tour, and the Victorian ones more focused on national and contemporary art. This doctoral thesis aims to analyze a celebrated then forgotten collection and to determine its place in the history of taste and collecting in Great Britain at the end of the Regency era
Whalley, Cybill. "Des ténèbres à la gloire : peindre la montagne en Grande-Bretagne (1747-1867)". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H323/document.
Testo completoUntil the 18th century, mountainous scenery in Britain was unknown to most of the inhabitants, and it was regarded as wild and gloomy. However, places such as the English Lake District, the Welsh Snowdonia and the Scottish Highlands were instrumental in the development of the art of landscape painting in Britain between the 18th and 19th centuries. Artists’ observation of the northern mountains captured the imagination through two major notions : the picturesque beauty and the sublime. Indeed, walking in English gardens lead to the Home Tour in mountainous lands. From a gloomy natural form following the Flood, the mountain became a symbol of insularity. This called for a re-enchantment through paintings and poetry, and then the mountain was allowed its glory. Watercolourists drew the mountains from Britain and turned them into a studio en plein-air. Thus, topography views led to a new artistic composition, where mountains became more and more painted in visual arts until the creation of a chaos synonymous with Romanticism. In the second half of the 18th century, these mountainous territories took part in the myth of Britishness. They became a symbol of origin, developing along with industrial modernity. The pacification of the Highlands from 1747 encouraged studies on the primitive past, where the northern mountains were natural ruins. In 1820-1830, the quest for origin also implemented the rise of national identities in Scotland and Wales upon British soil. These identities attempted to put an end to Anglicisation by claiming their own cultural specificities and reclaiming the mountain as their national symbol
Musset, Anne. "Stage costume and the representation of history in Britain, 1776-1834". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC294.
Testo completoThis thesis explores the relationships between stage costume and British historical culture in the period 1776-1834. Until the painstakingly researched antiquarian stagings of the mid-nineteenth century, the history of historical stage costume has typically been described in terms of a stereotyped ‘Van Dyck dress’. Yet the period witnessed the expansion of antiquarianism and portrait print collecting, the development of the Picturesque and Neo-Gothic aesthetics, the success of historical novels and a general desire to know more about the habits and costumes of the past. This interdisciplinary analysis situates stage costume within the wider visual and historical culture of the late eighteenth and early nineteenth centuries. Drawing on theatrical material related to the London theatres as well as paintings, engravings, book illustrations, shows and exhibitions, this study argues that the representation of historical stage costume in the visual arts reflects new ways of conceiving and depicting history, in which interest in the everyday life of past periods and a focus on the material and the visual were fundamental. This thesis suggests that ht historical costume in the theatre and its representation in theatrical portraiture played a role in a broader process that sought to define British art and identity
Lefeuvre, Olivier. "Philippe-Jacques de Loutherbourg (1740-1771) : vie et oeuvre". Paris 4, 2008. http://www.theses.fr/2008PA040153.
Testo completoPhilippe-Jacques de Loutherbourg, born in 1740, died in London in 1812 was a multi-facetted artist with numerous passions. Above all a landscape painter, he was also a history painter, stage designer, inventor of a show that was a precursor of the Dioramas, but also a man who was passionate about the occult who abandoned painting for a time in order to become a healer. Trained in France by an Italian artist, Francesco Giuseppe Casanova, he began his career in Paris before settling permanently in London and all his life had a considerable reputation which disappeared quickly after his death. Despite several attempts at a rehabilitation, Loutherbourg is today forgotten. The reconstitution of his painted output and the establishment of an accurate biography has allowed the author to asses more fairly his place in the history of painting in the second half of the 18th and early 19th centuries. In considering his contemporaries’ attitude to his work, in particular his favourite genre, landscape painting and his approach to the art market of his time, the author has attempted to understand better this individual who in his time was considered to be essential
Motte, Edwige. "Iconographie et Géomorphologie : l’usage de représentations artistiques des rivages comme outil de connaissance de l’évolution du littoral". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20036/document.
Testo completoThe shoreline is submitted to constant changes : its evolution results from both biophysical processes – swells, storms, ocean currents, meteorological factors –, and significant anthropisation, strongly accentuated during the last centuries. In France, on the coast of the Channel, variety and sumptuousness of types of coasts have aroused the inspiration of numerous artists, especially since the middle of the 19th century. Museums, archives, private collections possess precious records of the story of places. This research aims to reveal the informative value of artistic shoreline iconography to observe geomorphological evolutions of the coast. The first part contextualizes the general approach, setting out some essential theoretical considerations centered on modern geomorphology, the status of images in geography and a retrospective of the history of landscape pictorial representations. The second part concretely explores the foreseen potential of using artistic documents as knowledge sources at the scale of the French coasts of the Channel. From a limited corpus of art works, a methodology is developed. Finally, the third and last part of the work presents an application of the developed methodology in a precise context. The territory considered is the Rance estuary, with, as main issue, the identification and evaluation of architectural and sedimentological modifications that occurred in the coastline and foreshore. Results are released through a dedicated Website, which intends to be consulted, and eventually contributed, by a large public
Le, Provost Luc. "L’hébergement des personnes âgées dépendantes : capacité d'accueil et perspectives économiques à l'horizon 2040 : exemple dans les territoires de proximité de l'ARS Bretagne". Thesis, Paris, HESAM, 2020. http://www.theses.fr/2020HESAC018.
Testo completoThe aging of the population is de facto causing a disruption in the care of the elderly. With aging comes dependence, and the question arises of the supply and demand for accommodation for the elderly. The aim of this work is to make an estimate of accommodation consumption by including the geographic origin of nursing home users and to analyze it by 2040. Brittany, the heart of our demonstration, is particularly affected by this aging phenomenon : the lack ofaccommodation has already been noted there since 2020 and this trend is likely to intensify inthe following years. Therefore it seems essential to build gerontological basins with objectivedata, allowing public authorities to better understand gerontological planning for the years to come