Letteratura scientifica selezionata sul tema "Peinture et décoration murales médiévales – France (sud)"
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Tesi sul tema "Peinture et décoration murales médiévales – France (sud)":
Mounier, Aurélie. "Aurum, argentum et aliae res innumerabiles : les dorures dans les peintures murales médiévales du Sud-Ouest de la France". Bordeaux 3, 2010. https://hal.archives-ouvertes.fr/tel-01864084.
In mediaeval mural paintings, gildings holds an important role within the iconographic themes. Unfortunately, in the paintings, the degradation process mostly affects the metallic leaf. Gold tarnishes, silver deteriorates in silver sulphide and tin into hydro-romarchite. Gilding recreations submitted to accelerated ageing explained these alterations. Mostly, in the mural paintings the metallic leaf has been completely lost and only remains the layer containing the organic binder. Under UV lighting, the fluorescence properties of these organic compounds were used to detect them. The analysis of micro-samples, taken on zones which give a specific fluorescence, revealed gildings remains and the nature of the metal (gold, silver,…) used. Spectrofluorimetric methods allows the identification of the different types of binders. The accelerated ageing of lipidic binders induced a shift of the dominant wavelength of the fluorescence emission spectrum towards higher wavelengths (batochrome effect). The analysis of samples from about fifteen sites in the Southwest of France underlines the variety of the gilding techniques between the XIth and the XVIth century: Gold, silver and tin leaves are mostly applied according to the mixtion technique. The choice of the gilding type depends of symbolic, economic and\or technical considerations or of concern of realism and the will to introduce a hierarchy between the different scenes. A virtual restitution of the paintings in the chapel of the ancient abbey home in Moissac was proposed. Atmospheres have been simulated according to the architectural modifications which occurred since the medieval state to until now
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
Czerniak, Virginie. "La peinture murale médiévale en Quercy : (XIIe-XVIe siècle)". Bordeaux 3, 2004. http://www.theses.fr/2004BOR30053.
In the northerly limits of lands from the Languedoc, Quercy, which geographically becomes confused with the primitive diocese of Cahors, belongs until XIIIth century to the sphere of influence of the house comtale of Toulouse. This position of border made of Quercy a crossroads widely opened to the influences stylistic as shows the pictorial production of it, rich in fifty sets - among which unpublished 28 % - preserved as well in the religious buildings as the civilians. This study revealed a pictorial tradition of seven centuries, since the vestiges of decoration painted by a Carolingian altar until the whole second quarter of the XVIth century which still recover from the medieval sphere. The cathedral of Cahors testifies to her only of the importance granted to the colour with a pictorial campaign realized in the 1300s, which concerned the totality of the building, up to the outside portal. If the Romanic pictorial production translates the artistic exchanges to which the country was opened, the paintings of the XIIIth and XIVth centuries underline an one-sided northerly influence whereas the decorations of the end of the Middle Age betray, by their stylistic disparity, the impulse of creation aroused by the interruption of the French-English conflict to which Quercy was particularly exposed
Gnuva, Jean. "Peintures murales médiévales d'Aquitaine, de la moitié du XIIème au milieu du XVIème siècle : étude iconographique, stylistique et chronologique". Rennes 2, 2000. http://www.theses.fr/2000REN20056.
A recent census shows that from the roughly 350 medieval wall-painted buildings to be found in the 5 departments of this diversified region, only half remains today. Among them, 36 may date back to the romanesque period, 50 to the XIVth century, 4 to the XVth, 50 to the end of the XVth and beginning of the XVIth, and 81 at last to the XVIth century. One could wish there had been some artistic center or famous workshop in Aquitaine. Although the first period reveals its links with the Poitou , the Languedoc or the Catalonia, the XIVth century is more creative with a style of its own, wich is sometimes similar to court art ; the end of the middle-ages is fertile but tends to denegerate and become moral ; eventually some trends from the North or from Italy (via the Southern Garonne) made this period lose part of its technical skills and meet a style crisis. Most of paintingscan be found first in the department of the Gironde, then the Dordogne, the Landes, the Lot-et-Garonne and finally the Pyrenees-Atlantiques. Nevertheless, creation has been affected by a long time of war (from 1345 to 1453) wich destroyed the countyside, by the fact that monasteries tended to settle in town and sometimes became austere, by the location at the crossroads on the way to Santiago de Compostela, and finally by the protestant revolution (1540-1592) wich was still deeply rooted. At the end of the period , the parishes would borrow their decoration items from the XIVth and XVth century, without trying to innovate
Escourrou, Christelle. "Origine et signification du graff, dans le Sud-ouest de la France, sur un plan artistique et social". Toulouse 2, 2005. http://www.theses.fr/2005TOU20019.
The artistic value of the graff, carried out in the South-west of France, is put forward by the analysis of its material, iconographic and formal components. The original reinterpretation, by their authors, of conventional elements like the popular imagery and the fundamental plastic processes; just as their adaptability with the decorative scriptural practice, and their great creativity, allows them altogether, to invent a singular graphic system and a new and very expressive pictorial current anchored in the company. As a result, the social dimension of the graff, concomitant with its artistic direction, is also explored, through its history, and its diffusion, in relation the misuded techniques of mass communication, and finally in the light of the identity search which animates the graffeurs. Indeed, this one brings them, through the creation process that are involved in this practice, real benefits of a psychosocial nature
Bergès, Pierrette. "Des peintures murales de la renaissance dans le sud-ouest de l'ancienne france du quercy au val d'aran du rouergue a l'armagnac". Toulouse 2, 1996. http://www.theses.fr/1996TOU20032.
The study is about a whole of wall paintings found in situ that precise time criterions, from dated or named inscriptions, from records or from armorials bearings, that relative time criterions, about iconographic data, put between the end of the xv century and the beginning of the xvii century. From previously written accounts on more than ninety visited sites, accounts related to pictures and drawings, the main subject of the study is to show the typical outlines of a renaissance wall painting in the studied area. Particularly the adaptation of the picture to an architecture, the composition of the stage, the representing of the figures and the anatomic knowings, the use of a more or less scientific perspective, which takes care of the spectator, and the translation of the relief by the modele technic, which suggests the third dimension to the trompe l'oeil. The aim of the study is also to show the importance took by the setting in the wall painting at this time, to even hide the stage and create, because of permanent or found designs, a new iconography, which has its own symbolic
Faggianelli, Camille Simone. "Image et prière : l'art monumental de la fresque dans la Corse génoise à la fin du Moyen Age (1386-1513) : étude iconographique et étude stylistique". Paris 4, 2000. http://www.theses.fr/1999PA040273.
Kirch, Sonia. "Milites Christi : les programmes peints et sculptés en France dans les églises des hospitaliers de Saint-Jean et des templiers (fin 12e siècle à 1312) : étude iconographique". Bordeaux 3, 2004. http://www.theses.fr/2004BOR30065.
In our thesis we try to bring different shapes of spirituality and devotion of Hospitallers of St. John and Templars to light. It involves the constitution of a reliable corpus. The historiography of the orders of the Hospital of St. John and of the Temple of Jerusalem ought to be severe, before even trying to study by themes iconography of each example of our corpus, which allows comparisons between a site and another one. Willingly lead by the will to connect humanities, striking analogies will be found between monumental narrative art and Byzantine, limousine or from Meuse liturgical furniture and tools. Our research shows that as well as Hospitallers and Templars themselves have been deeply aware of theological debates about sacraments of their time, and have promoted marial virginity dogma without faltering. By the end, the meaning of sculpted and painted programs -Roman or with a Byzantine influence, but still militant- is so homogeneous that an elaborate religious politic can be seen at the head of each order. The question is by whom and with which rank
Gaudet-Chamberland, Katerie. "L'église de Saint-Loup-de-Naud : étude architecturale et iconographique d'une image-lieu". Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29363/29363.pdf.
Desvaux-Drubay, Cécile. "La mise en couleur des églises rurales d'Île-de-France du XIIe au XVIe siècle". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010517.
The colour setting of the church interior completes its building. Distempers, geometrical decorations, highlights putting rythm into the architecture or iconographic programs, this colour setting is doomed to be altered over time. The research focuses on small rural churches of Ile-de-France, less studied than those of towns. They are often remarkable by their multiple building campaigns still to be observed in their walls. Notably, the colour setting of the churches is following this evolution. Study of the building allows getting a finer chronology which introduces to colour setting’s analysis and its evolution throughout centuries. A historical research, as accurate as it can be, tries to highlight the possible sponsors of the painting. The similarities and differences in techniques, colours, kinds of decoration, and iconographic choices among a number of churches allows to capture changes on the long run, particularly between "classic" Middle Ages (XIIth and XIIIth centuries) and the end of Middle Ages (half XVth – halph XVIth century). Moreover, each part of a church has a very specific function to fulfill and we shall attempt to show relationships between paintings, their location in the building and their sponsors. Finally, we shall try to identify the multiple choices made within the rural churches, and to understand their differences, should there be any compared to other regions of France or neighboring towns