Letteratura scientifica selezionata sul tema "Infini – Peinture"
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Articoli di riviste sul tema "Infini – Peinture":
Lafargue, Bernard. "Des figures du visage aux visages des figures". Figures de l'Art. Revue d'études esthétiques 5, n. 1 (2001): 265–81. http://dx.doi.org/10.3406/fdart.2001.1249.
Wei, Keling. "Pluralité des voix et repentirs autobiographiques : une lecture d’Enfance de Nathalie Sarraute". Études françaises 40, n. 2 (25 agosto 2004): 101–14. http://dx.doi.org/10.7202/008813ar.
Scott, David. "'L'art verbal des poètes-peintres: the text/image problem In the context of Blake's ‘Infant Sorrow’ as analysed by Roman Jakobson inL'art verbal des poètes-peintres Blake) Rousseau et Klee". Word & Image 17, n. 3 (luglio 2001): 208–18. http://dx.doi.org/10.1080/02666286.2001.10435714.
Longo, Giuseppe, e Sara Longo. "Infini de Dieu et espace des hommes en peinture, conditions de possibilité pour la révolution scientifique". Arts et sciences 4, n. 2 (2020). http://dx.doi.org/10.21494/iste.op.2020.0486.
Tuduri, Claude. "Face au silence des dentellières :La jeunesse du voir et l’usure des discours". Figures de brodeuses du Moyen Âge à nos jours : entre soumission et résistance ?, n. 7 (15 dicembre 2023). http://dx.doi.org/10.56078/motifs.997.
O’Sullivan, Luke. "Moving Pictures of the French Wars of Religion: Articulating Attachment in Guillaume Bouchet’s ‘Des peintres & peintures’, Les Serées (1584–98)". French Studies, 27 aprile 2023. http://dx.doi.org/10.1093/fs/knad090.
Tesi sul tema "Infini – Peinture":
Turpin, Olivier. "La ligne, l’onde, le pli dans la couleur". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080040.
This thesis focuses a body of paintings and wall paintings initiated in 2014 and continuing to the present day. It was a pivotal year when I went from figurative painting to abstract painting based on the drawing of an endless line that never intersects. The purpose of this research is to analyze this ‘line being’ that replaced the figure, organizing itself in colored waves, folds, overlays and twists. If chance secretly directs the drawing of the line on the canvas or in situ, it acts in respecting opposing forces and notions, such as emptiness and fullness, background and form, appearance and disappearance, form and formlessness. The line is thus a pictorial version of the twisting Möbius ribbon that places the front and back on the same side. It is by this principle that it becomes dynamic and generates a cosmogony within which the wave and the fold move before bursting into color. The proliferation of the biomorphic line has given rise to creative phases that constitute my field of investigation. A painting is an “X-ray of action”. How did the line change into a wave? How does the line, by means of hollowing out and “alternate overlapping,” continue its path and open up possibilities of forms and voids? How does the sliding of paint create the illusion of movement through transparency and depth? Finally, how did the dripping gesture in painting emerge as the “being” that would become color?
Lee, Jiyeon. "Typologie et analytique des espaces dans la peinture européenne de la Renaissance". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAG003/document.
The aim of this study is to examine how the artists of the Renaissance, known as the humanists, have proposed some news interpretations of the vision of the world when the recent discoveries oh the cosmology have happened, and equally how much the suggestive force of images go hand in hand with the conceptions of the universe, which is moreover considered by E. Panofsky, historically and logically as the primary work of art and the prototype of all. It is therefore important to reconstitute, in terms of a certain speculative prism, the fluctuations of the spatial configuration in artistic picture of the European Renaissance
Libri sul tema "Infini – Peinture":
Bailly, Jean Christophe. L' atelier infini: 30,000 ans de peinture. Paris: Hazan, 2007.
Boudier, Yves. L' Infans, ou, La peinture regardée. Xonrupt-Longemer: Æncrages, 1990.