Tesi sul tema "Illustrations collectionID"

Thesis (M.F.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains iii, 17, [19] p. : col. ill. Includes abstract. Includes bibliographical references (p. 17).

Cette étude cherche à démontrer que, si le costume de théâtre trouve actuellement un regain d'intérêt, il est important de connaître son premier geste : le dessin de costume, le seul à subsister à cette époque. L'Esthétique théâtrale, du moins sur le plan théorique, subit une évolution sensible durant cette deuxième moitié de siècle. L'enjeu, pendant cette période, est un balancement entre le maintien de la tradition ou un essai de renouvellement. Or les premiers frémissements d'un changement peuvent-ils naître au sein du système institutionnel figé de ce temps? Les coups de boutoir des théoriciens auront-ils raison des habitudes des dessinateurs ? Les débats autour de la peinture d'histoire vont-ils transformer le costume de théâtre et par osmose le dessin de costume vers un néo-classicisme ? La mode exerce-t-elle une influence sur ce dessin ? Tels sont les facteurs à débattre
This dissertation aims to demonstrate that, meanwhile theatre's costumes are particularly studied, it appeared important to know its first gesture : the costumes drawing, which alone have subsisted. In the second half of the eighteenth century, the theatrical aesthetic has know a significant theoretical evolution. What is at stake, in this time, is the alternative between tradition's permanence and changing's attempt. Is such a change possible in the sceloresed institution of this period ? Are the theoreticians going to convince the costume's drawers to leave their habits ? Will the discussions around history's painting transform the theatre's costumes, and in the same time costumes drawing, to a neoclassic style ? Will fashion influence it ? These are the questions which will be discussed

L'indexation des images est une étape indispensable pour valoriser un fond d'archive professionnel ou des collections d'images personnelles. Le "documentaliste" se doit de décrire précisément chaque document collecté dans la perspective de le retrouver. La difficulté est alors d'interpréter les contenus visuels et de les associer entre eux afin de couvrir différentes catégories qui peuvent être souvent très subjectives. Dans ce travail, nous nous inspirons du principe de l'apprentissage actif pour aider un utilisateur dans cette tâche de structuration de collections d'images. A partir de l'analyse des contenus visuels des images, différentes stratégies de sélection active sont développées afin d'aider un utilisateur à identifier et cerner des catégories pertinentes selon son point de vue. Nous proposons d'exprimer ce problème de classification d'images avec apprentissage actif dans le cadre du Modèle des Croyances Transférables (MCT). Ce formalisme facilite la combinaison, la révision et la représentation des connaissances que l'on peut extraire des images et des classes existantes à un moment donné. La méthode proposée dans ce cadre permet ainsi une représentation détaillée de la connaissance, notamment en représentant explicitement les cas d'appartenances à aucune ou à de multiples catégories, tout en quantifiant l'incertitude (liée entre autre au fossé sémantique) et le conflit entrainé par l'analyse des images selon différentes modalités (couleurs, orientations). Une interface homme-machine a été développée afin de valider notre approche sur des jeux de tests de référence, des collections d'images personnelles et des photographies professionnelles issues de l'Institut National de l'Audiovisuel. Une évaluation a été conduite auprès d'utilisateurs professionnels et a montré des résultats très positifs en termes d'utilité, d'utilisabilité et de satisfaction
Image annotation is an essential task in professional archives exploitation. Archivsits must describe every image in order to make easier future retrieval tasks. The main difficulties are how to interpret the visual contents, how to bring together images whitch can be associated in same categories, and how to deal with the user's subjectivity. In this thesis, we use the principle of active learning in order to help a user who wants organize with accuracy image collections. From the visual content analysis, complementary active learning strategies are proposed to the user to help him to identify and put together images in relevant categories according to his oppinion. We choose to express this image classification problem with active learning by using the Transferable Belief Model (TBM), an elaboration on the Dempster-Shafer theory of evidence. The TBM allows the combination, the revision and the representation of the knowledge which can be extracted from the visual contents and the previously identified categories. Our method proposed in this theoritical framework gives a detailed modeling of the knowledge by representing explicitly cases of multi-labeling, while quantifying uncertainty (related to the semantic gap) and conflict induced by the analysis of the visual content in different modalities (colors, textures). A human-machine interface was developed in order to validate our approach on reference tests, personal images collections and professional photos from the National Audiovisual Institute. An evaluation was driven with professional users and showed very positive results in terms of utility, of usability and satisfaction

Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

Art History
M.A.
My thesis investigates an interdisciplinary narrative of the transatlantic migration of Surrealism to Mexico during the 1940s. I focus on the ways exiled European Surrealists approached notions of Mexican material culture in a hybrid society where local traditions coexisted with a global modernity. Looking to popular and print culture outlets, I concentrate on how Mexican material culture was perceived, promoted, and marketed through a Surrealist lens. Specifically, I consider the collaboration of the German pharmaceutical company Casa Bayer, S.A. and exiled Spanish-born Surrealist Remedios Varo, who produced a series of medical advertisements during her first decade in Mexico City from 1943 to 1949. Through an examination of Varo’s work, my thesis explores the changing boundaries of fine and commercial art that resulted from the efforts of artists who participated in modern mass culture and consumerism. I investigate the significance of her Surrealist advertisements for Casa Bayer as a material culture bound on one side with fine art and the other side with the development of Mexican advertising. This case study supports my argument that Surrealism, as a transnational aesthetic, was one alternative way of demonstrating the new cultural meanings of advertising in an ambiguous, modern Mexican society. Examining Varo’s illustrations in light of the movement of western Europeans to Mexico and the country’s commitment to modern progress explains why the artist negotiated her past avant-garde sensibilities with her Mexican present.
Temple University--Theses

The Cabinet of Count Charles Cobenzl lies at the heart of the Hermitage Museum, forming the core of the collection of Old Master Drawings. Yet despite perpetual references to him as ‘grand collectionneur’, no study of Cobenzl’s collecting has ever been undertaken. Nor, in the absence of prosopographical studies of art production or collecting in the Austrian Netherlands in the middle of the eighteenth century, or indeed of other individual collectors, has it been possible to set him in a ‘collecting context’. Bringing together the works of art themselves and Cobenzl’s abundant correspondence, this thesis assesses what he owned, how and why he acquired it, the political and intellectual framework for his collecting and how he perceived the objects in his possession. Looking at Cobenzl’s roles as public figure and private collector, it shows how the latter fits into the context of the former, his collecting rooted firmly in his ambition to revive the economy and the arts of the Austrian Netherlands, in his own ambiguous status and his conflicts with the Governor, Charles de Lorraine. The battle for both real and perceived superiority was played out in many different parts of Cobenzl’s professional and private life, and he used display – the adornment of his home and his person and his collecting – as part of a play for social prestige. Cobenzl used objects as a discrete assertion of both intellectual and aesthetic superiority. This thesis proposes that Cobenzl’s transformation into a collector of drawings was an example of his perspicacious identification of emerging trends that could be turned to advantage, economic or prestigious, public or personal. He was drawn by the status of drawings, perceived as accessible only to those of greater refinement and understanding, as something elite, less accessible than the collecting of paintings. The direct and specific stimulus for his emergence as a collector of drawings lay in the provenance of two large groups of works he was offered, which permitted him to assert a very specific link to the past. It suggests that Cobenzl adopted not only the drawings, but also their histories, to negotiate social position and identity, within the context of his pragmatic utilitarianism. This egocentric study also provides the foundation for a preliminary attempt to create a context for Cobenzl’s collecting of drawings, within his circle, in the Austrian Netherlands overall, and, through analysis of his collecting practices, in the wider European context.

L'indexation des images est une étape indispensable pour valoriser un fond d'archive professionnel ou des collections d'images personnelles. Le "documentaliste" se doit de décrire précisément chaque document collecté dans la perspective de le retrouver. La difficulté est alors d'interpréter les contenus visuels et de les associer entre eux afin de couvrir différentes catégories qui peuvent être souvent très subjectives. Dans ce travail, nous nous inspirons du principe de l'apprentissage actif pour aider un utilisateur dans cette tâche de structuration de collections d'images. A partir de l'analyse des contenus visuels des images, différentes stratégies de sélection active sont développées afin d'aider un utilisateur à identifier et cerner des catégories pertinentes selon son point de vue. Nous proposons d'exprimer ce problème de classification d'images avec apprentissage actif dans le cadre du Modèle des Croyances Transférables (MCT). Ce formalisme facilite la combinaison, la révision et la représentation des connaissances que l'on peut extraire des images et des classes existantes à un moment donné. La méthode proposée dans ce cadre permet ainsi une représentation détaillée de la connaissance, notamment en représentant explicitement les cas d'appartenances à aucune ou à de multiples catégories, tout en quantifiant l'incertitude (liée entre autre au fossé sémantique) et le conflit entrainé par l'analyse des images selon différentes modalités (couleurs, orientations). Une interface homme-machine a été développée afin de valider notre approche sur des jeux de tests de référence, des collections d'images personnelles et des photographies professionnelles issues de l'Institut National de l'Audiovisuel. Une évaluation a été conduite auprès d'utilisateurs professionnels et a montré des résultats très positifs en termes d'utilité, d'utilisabilité et de satisfaction.

Kyoto University (京都大学)
0048
新制・課程博士
博士(医学)
甲第12223号
医博第2976号
新制||医||922(附属図書館)
24059
UT51-2006-J216
京都大学大学院医学研究科外科系専攻
(主査)教授 篠原 隆司, 教授 影山 龍一郎, 教授 富樫 かおり, 教授 中辻 憲夫
学位規則第4条第1項該当

By focusing on character, humor, and loose narrative, I create a world full of quirky, pitiful creatures that blur the lines between illustration and "Fine Art". Inspired by golden age cartoons, Pop-Surrealism, and late 50's commercial art, I make work that speaks of the awkwardness of human emotion while keeping a "tongue in cheek" attitude about everyday life. This work is expressed through illustration, animation, sculpture, and a lot of sarcasm.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

Plusieurs thèmes traversent les aspects en apparence si différents de cette recherche : l'insecte d'abord, qui est à l'origine de la démarche plastique et devient l'agent et le guide de notre déambulation dans l'histoire. De petites fabrications dérisoires faites de résidus récoltés au cours d’itinéraires dans Paris, sont à l'origine de multiples questionnements sur l'assemblage. L'institution de quelques règles de fabrication permet, à leur image, de parler essentiellement d'assemblages figuratifs réalisés par récupération d'objets manufacturés. L'entomologie, à la méthodologie si rigoureuse, servira aussi à valider certains principes de classification pour étudier les processus cognitifs et les ressorts associatifs qui président à la création artistique. Toute fabrication, intellectuelle ou tangible, est surdéterminée par les matériaux qui la constitue. Le préalable de ce travail consistera donc à désenchevêtrer le réseau sémantique des notions qui en bâtissent les grandes lignes, comme celles de collection, de classement, de combinaison, ou encore de ressemblance, pour établir qu'il existe un faisceau de relations entre la possibilité même de l'apparition de l'assemblage comme genre référencé et la prise de conscience par la peinture de ses propres enjeux dans une sorte de retour auto-réflexif. La mouche peinte en sera l'annonciatrice emblématique
Several themes cross the seemingly so different aspects of this study : first the insect, which is the origin of this artistic research and then becomes the agent and the guide of our wandering through history. Tiny and trivial making made of junks picked up during walks in Paris are the reason for many questionings on the notion of assemblage. The institution of a few making rules allows us, in their image, to talk essentially about figurative assemblages made by the recycling of manufactured objects. Entomology, with its meticulous methodology, will also be used as a tool to validate some classification principles in order to study the cognitive process and the associative resorts which govern artistic creation. Every making, intellectual or tangible, is overdetermined by the materials it is made of. The precondition to this work consists in disentangling the semantic web of notions from which derive the main lines such as collection, classification, combination, or even similarity, to establish that there is a bundle of relation between the very possibility of the emergence of assemblage as a referenced genre and the realization by painting of its own issues, in a sort of self-reflexive turning back. The painted fly will become its emblematic forewarning

This is a report that goes through the design process of designing and illustrating a virtual clothing shop with the theme ”Stockholm Streetstyle” for the website ”Stardoll.com”. The purpose of the report is to examine how you can manage to get as close to designing a certain style or theme as possible, and also how the process of designing a clothing line can work, The illustrations were made in Adobe Illustrator and the final result of the project was an illustrated fashion collection with 21 parts, in the total of 6 outfits, and also a background for the shop.

Cette thèse explore des approches de structuration automatique et semi-automatique pour les collections de contenus iconographiques patrimoniaux. La structuration et l'exploitation de tels contenus pourrait s'avérer bénéfique pour de nombreuses applications, du tourisme virtuel à un accès facilité pour les chercheurs et le grand public. Cependant, l'organisation "en silo" inhérente à ces collections entrave les approches de structuration automatique et toutes les applications subséquentes.La communauté de la vision par ordinateur a proposé de nombreuses méthodes automatiques pour l'indexation (et la structuration) de collections d'images à grande échelle. Exploitant l'aspect visuel des contenus, elles fonctionnent indépendamment des structures de métadonnées qui organisent principalement les collections patrimoniales, apparaissant ainsi comme une solution potentielle au problème de liage entre les structures uniques des différentes collections. Cependant, ces méthodes sont généralement entrainées sur de grands jeux d'images récentes ne reflétant pas la diversité visuelle des contenus patrimoniaux. Cette thèse vise à évaluer et à améliorer ces méthodes automatiques pour la structuration des contenus iconographiques patrimoniaux. Pour cela, cette thèse apporte trois différentes contributions avec l'objectif commun d'assurer une certaine explicabilité des méthodes évaluées et proposées, nécessaire pour justifier de leur pertinence et faciliter leur adaptation à de nouvelles acquisitions. La première contribution est une évaluation des approches automatiques de recherche d'images basée sur le contenu, confrontées aux différents types de données du patrimoine iconographique. Cette évaluation se concentre d'abord sur les descripteurs d'images de l'étape de recherche d'images, puis sur les méthodes de ré-ordonnancement qui réorganisent ensuite les images similaires en fonction d'un autre critère. Les approches les plus pertinentes peuvent alors être sélectionnées pour la suite tandis que celles qui ne le sont pas fournissent des informations inspirant notre deuxième contribution. La deuxième contribution consiste en trois nouvelles méthodes de ré-ordonnancement exploitant des informations spatiales plus ou moins globales pour réévaluer les liens de similarité visuelle créés par l'étape de recherche d'images. La première exploite les premières images retrouvées pour créer une scène 3D approximative dans laquelle les images retrouvées sont positionnées pour évaluer leur cohérence dans la scène. La deuxième simplifie la première avec une expansion de requête géométrique, c'est-à-dire en agrégeant des informations géométriques 2D issues des images récupérées pour encoder plus largement la géométrie de la scène sans la reconstruire (ce qui est couteux en temps de calcul). Enfin, la troisième exploite des informations de position plus globales, à l'échelle du jeu d'images, pour estimer la cohérence entre la similarité visuelle entre images et leur proximité spatiale. La troisième et dernière contribution est un processus semi-automatique de validation visuelle et de correction manuelle de la structuration d'une collection. Ce cadre exploite les approches automatiques les plus adaptées et une plateforme de visualisation basée sur une représentation en graphes. Nous utilisons plusieurs indices visuels pour orienter l'intervention manuelle de l'expert sur les zones impactantes. Cette approche semi-automatique guidée présente des avantages certains, car elle résout des erreurs de structuration qui échappent aux méthodes automatiques. Ces corrections étant ensuite largement diffusées dans toute la structure, l'améliorant globalement.Nous espérons que notre travail apportera quelques perspectives sur la structuration automatique de contenus iconographiques patrimoniaux par des approches basées sur le contenu, tout en ouvrant la porte à davantage de recherches sur la structuration semi-automatique guidée de collections d'images
This thesis explores automatic and semi-automatic structuring approaches for iconographic heritage contents collections. Indeed, exploiting such contents could prove beneficial for numerous applications. From virtual tourism to increased access for both researchers and the general public, structuring the collections would increase their accessibility and their use. However, the inherent "in silo" organization of those collections, each with their unique organization system hinders automatic structuring approaches and all subsequent applications. The computer vision community has proposed numerous automatic methods for indexing (and structuring) image collections at large scale. Exploiting the visual aspect of the contents, they are not impacted by the differences in metadata structures that mainly organize heritage collections, thus appearing as a potential solution to the problem of linking together unique data structures. However, those methods are trained on large, recent datasets, that do not reflect the visual diversity of iconographic heritage contents. This thesis aims at evaluating and exploiting those automatic methods for iconographic heritage contents structuring.To this end, this thesis proposes three distinct contributions with the common goal of ensuring a certain level of interpretability for the methods that are both evaluated and proposed. This interpretability is necessary to justify their efficiency to deal with such complex data but also to understand how to adapt them to new and different content. The first contribution of this thesis is an evaluation of existing state-of-the-art automatic content-based image retrieval (CBIR) approaches when faced with the different types of data composing iconographic heritage. This evaluation focuses first on image descriptors paramount for the image retrieval step and second, on re-ranking methods that re-order similar images after a first retrieval step based on another criterion. The most relevant approaches can then be selected for further use while the non-relevant ones provide insights for our second contribution. The second contribution consists of three novel re-ranking methods exploiting a more or less global spatial information to re-evaluate the relevance of visual similarity links created by the CBIR step. The first one exploits the first retrieved images to create an approximate 3D scene of the scene in which retrieved images are positioned to evaluate their coherence in the scene. The second one simplifies the first while extending the classical geometric verification setting by performing geometric query expansion, that is aggregating 2D geometric information from retrieved images to encode more largely the scene's geometry without the costly step of 3D scene creation. Finally, the third one exploits a more global location information, at dataset-level, to estimate the coherence of the visual similarity between images with regard to their spatial proximity. The third and final contribution is a framework for semi-automatic visual validation and manual correction of a collection's structuring. This framework exploits on one side the most suited automatic approaches evaluated or proposed earlier, and on the other side a graph-based visualization platform. We exploit several visual clues to focus the expert's manual intervention on impacting areas. We show that this guided semi-automatic approach has merits in terms of performance as it solves mistakes in the structuring that automatic methods can not, these corrections being then largely diffused throughout the structure, improving it even more globally.We hope our work will provide some first insights on automatically structuring heritage iconographic content with content-based approaches but also encourage further research on guided semi-automatic structuring of image collections

Upbringing and psychological make-up inspire individual norms for beauty and cuteness. The mannerist approach in my work is a product of the figural liberties found in cartooning, illustration and art history. By altering facial and bodily features, I relate the proportions of an infant to cuteness and innocence. However, I tailor the photographs to empower the subjects all the while mirroring trends in contemporary pop culture. I'm interested in themes of everyday life, vitality and emotion placed in obscure, imaginary or exaggerated venues. I fictionalize subjects of my reality to compel viewers to identify with and fancy emotions, circumstances, moods and relationships. The intent is to amplify, yet be truer to their existence and idiosyncrasies through figural adaptations.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

Reconsidérer les images médiatiques d'évènement à travers le prisme des peurs collectives permet de soulever autrement les questions politiques et sociales propres aux images. L'évolution des médias d'information avec Internet ainsi que les fréquents débats publics sur les images d'actualité révèlent une nouvelle appréhension des images d'évènements. La relation ambigüe de croyance et de mise en doute propre à toute image s'associe à la viralité des images médiatiques d'aujourd'hui. Photographies et vidéos d'attentats, de catastrophes et de crises diverses propagent et redéfinissent des peurs, en faisant ressurgir la peur des images. Pouvoirs des médias et des images se conjuguent pour créer un climat anxiogène, qui oscille entre réalité et fiction. Cette recherche doctorale en arts plastiques interroge alors les pratiques et positionnements d'artistes qui problématisent ces relations entre images, peurs et événements. L'expérience de l'évènement médiatisé, proposée et fabriquée, à nouveau, par ces artistes, se construit dans le rapport entre excès et manque de visibilité (que donner à voir, ou non) et peut conduire à la conjuration ou l'amplification des peurs collectives, comme à un appel à la vigilance. En articulant investigation théorique et pratique personnelle – dont le moteur est la collecte d'images médiatiques – il s'agit de démontrer les aspects négatifs comme positifs des usages des images et des peurs aujourd'hui, à la fois remèdes et poisons d'une société inquiète
Reconsidering event media pictures trough the prism of collective fears allows raising differently the political and social issues. The evolution of the news media with Internet as well as the frequent public debates on the news pictures reveal a new apprehension of event pictures. The ambiguous relation of belief and doubt inherent to any picture reinforce the virality of today's media images. Photographs and videos of terrorist attacks, disasters and various crises spread and redefine fears, bringing out the fear of pictures. Powers of media and pictures combine together creating a climate of anxiety which oscillates between reality and fiction. This fine arts doctoral research questions the practices and the positioning of artists who problematize these relationships between images, fears and events. The experience of the mediatised event, re-proposed and re-made by these artists, is built in the relationship between excess and lack of visibility (which pictures to diffuse or not) and can exorcise or amplify collective fears, like a call for vigilance. Articulating theoretical investigation and personal practice - which is based on the collection of media pictures - allows demonstrating the negative and positive aspects of the uses of pictures and fears today, simultaneously remedies and poisons of a worried society

Mirrors and Vanities is a multi-modal collection which showcases the diversity of working in long and short storytelling forms. Featured in this thesis are fiction, nonfiction, graphic narrative, and screenplay. Using unconventional approaches to storytelling in order to achieve emotional resonance with the audience while maintaining high standards for craft, these stories and essays explore the costs inherent to the subtle nuances of interpersonal relationships. The fiction focuses on the complications of characters keeping secrets. A husband discovers the truth behind his wife's miscarriage. A girl visits her fiance in purgatory. A boy crosses a line and loses his best friend. Meanwhile, the nonfiction centers on self-discovery and gender roles associated with power struggles. A schizophrenic threatens to ruin my mother's wedding. I rediscover my relationship with my father through food writing. Sword-work teaches me to fail and succeed at making martial art. The title work of the thesis is a collaged story highlighting the tribulations of a physicist fixated on recovering his lost love by manipulating the multiverse. The multi-modal format implicates the nebulosity of physics theories and how different aspects of the narrative can be presented in various formats to best suit the nature of the storytelling. Through the interactions of characters in mundane and extraordinary circumstances, the works in this thesis examine the consequences of choice, the contrast between reality and expectation, coming of age, and the Truth of narrative.
M.F.A.
Masters
English
Arts and Humanities
Creative Writing

Louis Lafitte (1770-1828) a tenu toute sa vie à se présenter, avec fierté, comme peintre d’histoire, ce que sa formation artistique justifie pleinement. Après un apprentissage chez le graveur Gilles-Antoine Demarteau, il entre dans l’atelier de Jean-Baptiste Regnault, concurrent et rival de celui de Jacques Louis David dans les années 1780. Présenté par ce maître, il est inscrit à l’Académie royale de peinture, sculpture et architecture en 1784 ; son cursus y est honorable : première médaille au quartier d’octobre 1788, et surtout grand prix de peinture, lors de sa première participation au concours en 1791. Ce parcours d’excellence lui vaut une place à l’Académie de France à Rome, mais il ne peut guère profiter de ce privilège, la situation politique de la France ne trouvant pas grâce aux yeux du gouvernement romain. La population supporte de plus en plus mal la présence française et en janvier 1793, c’est l’explosion ; le Palais Mancini siège de l’Académie est incendié, les pensionnaires dispersés. Tous rentrent plus ou moins rapidement en France ; certains comme Lafitte iront se réfugier à Florence jusqu’à la rupture de la neutralité de la Toscane en octobre 1793. De retour en France, commence une période paradoxale : pensionnaire de la République sur le papier jusqu’en septembre 1800, il en perçoit les modestes indemnités, compte peut-être sur un nouveau séjour romain qui ne viendra pas, mais ne parvient pas à « faire la peinture » à laquelle il aspire, faute d’obtenir un atelier, malgré des demandes répétées. Il n’entre pas non plus dans le cénacle des artistes sollicités régulièrement par les gouvernements successifs, mais il donne parfois de timides signes d’assentiment au régime en place, de l’an II jusqu’à l’Empire où il bénéficie alors de commandes officielles plus importantes, comme le simulacre de l’Arc de triomphe de l’Etoile pour le mariage de Napoléon et Marie-Louise. Son ralliement enthousiaste à la Restauration montre sans doute le vrai visage de Lafitte quant à ses affinités politiques. Il en résulte une place très officielle de dessinateur du Cabinet du Roi, qui conclut avec panache une carrière dont le parcours est souvent difficile à reconstituer. La plus grande partie de sa vie, il n’est pas dans la lumière, car faute de clients publics, il s’est tourné très vite vers une clientèle privée, que son titre de peintre d’histoire, inlassablement mis en avant, n’a pas manqué d’attirer et que ses réels talents de dessinateur ont fixé. On lui demande surtout des travaux en rapport avec les goûts du temps, décors intérieurs pompéiens, ou portraits, tous objets qui malheureusement n’ont que très exceptionnellement laissé des traces. Son crayon sûr et incisif travaille pour les graveurs d’estampes, avec des morceaux célèbres comme les figures du calendrier républicain, ainsi que pour les éditeurs de belles éditions illustrées, dont les lecteurs de l’époque sont friands. On pense notamment à la luxueuse édition Didot de Paul et Virginie, orchestré de bout en bout par Bernardin de Saint Pierre lui-même. Il s’est taillé dans ce dernier domaine une réputation telle, qu’il est resté comme un illustrateur de livres pour une part non négligeable d’auteurs du XIXe siècle. Il n’a pas manqué non plus d’être intéressé par les arts appliqués et de fournir des dessins aussi bien pour de l’orfèvrerie que pour des papiers peints ; des objets de luxe, produits en petit nombre certes, mais industriellement quand même, qui montre un artiste ne dédaignant pas les demandes d’une société de consommation exigeante. Comme on le voit, il ne fait pas œuvre de peintre d’histoire ; mais ce parcours très diversifié, faisant feu de tout bois, montre une adaptation originale à la situation nouvelle que rencontrent les artistes dans une période particulièrement troublée. Elle permit à Louis Lafitte, peintre d’histoire, sinon d’atteindre la gloire, au moins de vivre correctement de son art
All his life Louis Lafitte (1770-1828) insisted on introducing himself, with pride, as a history painter, a statement which his artistic training fully justified. After an apprenticeship with the engraver Gilles-Antoine Demarteau, he was the pupil of Jean-Baptiste Regnault, a competitor and rival of Jacques Louis David's in the 1780s. Introduced by his master, he was enrolled at the Royal Academy of Painting, Sculpture and Architecture in 1784; his studies there were honourable: first medal in October 1788, and above all the grand prize in painting, when he first took part in the competition in 1791. This course of excellence earned him a place at the Académie de France in Rome, but he could hardly take advantage of this privilege, as the political situation in France was not acceptable to the Roman authorities. The population could not stand the French presence and in January 1793, it was mayhem; the Mancini Palace, the seat of the Academy, was burnt down and the residents dispersed. All of them returned to France more or less quickly; some, like Lafitte, took refuge in Florence until the neutrality of Tuscany was ruptured in October 1793. On his return to France, a period of uncertainty began: an official resident of the Republic until September 1800, he received modest compensation. His desire to return to Rome was unfulfilled as was his aspiration to become a history painter, as he was unable to obtain a studio, despite repeated requests. Nor did he enter the cenacle of artists regularly solicited by successive governments, but he sometimes gave timid signs of assent to the regime in power, from the year II to the Empire, where he received more important official commissions, such as the simulacrum of the Arc de Triomphe de L'Etoile for the wedding of Napoleon and Marie-Louise. His enthusiastic rallying to the Restoration undoubtedly shows the true face of Lafitte's political affinity. The result was a very official position as draughtsman in the King's Cabinet, which concluded his artistic career which is often difficult to reconstruct. For most of his life, he was not in the limelight, lacking public clients, he very quickly turned to a private clientele, which he obtained by using his title of a history painter. He was mainly asked to paint works in line with the tastes of the time, Pompeian interior decorations, or portraits, which we have little trace of today. A skilled draughtsman, he worked for print engravers, producing famous pieces such as figures from the republican calendar, but also for publishers of refined illustrated editions, very appreciated by the readers of the time. One thinks, in particular, of the luxurious Didot edition of Paul and Virginie, directed from beginning to end by Bernardin de Saint Pierre himself. In the publishing field, he earned such a reputation that he remained a book illustrator for a large number of 19th-century authors. He was also interested in the applied arts and provided drawings for both the goldsmiths and wallpaper trade. These were luxury objects, produced in small numbers but mechanically manufactured. As an artist, Louis Lafitte accepted the demands of consumer society, his eclectic career showed his constant ability to adapt during the revolution and although he is not remembered as a history painter, he succeeded in making a living from his trade

This thesis investigates the changes and challenges technology has created in the field of technical illustration. Technical illustration includes the fields of technical drawing as well as scientific and medical illustration. Previously, technical illustrators learned and used traditional illustration methods, without the aid of computers. However, technology has rapidly entered the field and has changed the education, work environment, skills, and role of the technical illustrator. I note both the benefits and disadvantages that current technical illustrators are facing in their work. I explore both sides of the digital media and traditional art debate while focusing on the technical illustrator's role, tools and methods used in the illustration process, education, idea-generation, and the future of technical illustration. By emphasizing the issues associated with the incorporation of digital media into traditional methods, I hope to bring awareness to the transformation of technical illustration and the future of this discipline.
M.A.
Masters
English
Arts and Humanities
English; Technical Communications Track

碩士
淡江大學
中國文學系碩士在職專班
99
There are not enough studies on woodcut illustrations of classified encyclopedia and landscapes . And there are not enough comprehensive studies on illustrations of Completed Collection of Graphs and Writings of Ancient and Modern Times. Therefore, that’s the motivation I choose the object of research. My research try to collect all illustrations of the landscapes from Completed Collection of Graphs and Writings of Ancient and Modern Times Features on Mountains and Rivers, the original imperial edition published in 1726 . Compare and analyze with other illustrations of of landscapes individually from relevant ancient rarebooks. Especially in the similar form of illustrations. Such as Assembled Illustrations of the Three Realms of Heaven, Earch and Man, Books Depository, Wonders of the world, Great Mountains Catalog, The Grand Occasion of the Southern Inspection, ect. The structure of my research : There are 3 main chapters besides the first chapter and last chapter, the introduction and conclusion. Chapter 2 : Overview of woodcut landscape illustrations before the early Qing Dynasty. Chapter 3 : Comment on the landscape illustrations of Completed Collection of Graphs and Writings of Ancient and Modern Times Features on Mountains and Rivers. The contents of Features on Mountains and Rivers can be separated into three more categories : 1. the illustrations of famous attractions, such as Five Mountains, Five Towns, and other religious attractions. 2. the illustrations of legendary characters or stories. 3. the illustrations of guidebooks. Chapter 4 : Characteristics of the landscape illustrations of Features on Mountains and Rivers, these can be considered into three directions : 1. the extension and simplicity among the inclusion of these illustrations. 2. the realism and art of the quality of these illustrations. 3. the sources and forms of these illustrations.And last chapter , conclusion. The success and value of these illustrations.

The master thesis is focused on the mapping and detailed description of the books containing travel illustrations in the etching collection of The Kinsky Library. The thesis deals with the history of The Kinsky Library and general characteristic of the book collection, and examines in detail the etching collection. The pictorial works on the topic of travelling were selected from the etching collection in the very beginning. The selected books from the etching collection are listed in the inventory, which is the outcome the thesis. The book inventory reflects the technical aspects of illustrations in the selected books (printing process, size of the illustrations and names of the artists). The thesis is also focused on travelling and aesthetics of nature at the turn of the eighteenth and nineteenth century. Keywords: The Kinsky Library, etching collection, illustration, history of travel, aesthetics of nature