Tesi sul tema "Picasso, Pablo, 1881-1973 – Exhibitions"

Une étude statistique portant sur 29 tableaux de Picasso démontre la permanence d'un certain nombre de caractères : équilibre de la composition par la distribution des aires colorées : le barycentre des aires pondérées se situe au centre géométrique du cadre. (Les coefficients de pondération employés sont le coefficient de luminance, les coordonnées chromatiques c. I. E. De la couleur). Les "apports" r. V. B. Sont de même ordre avec une tendance décroissante du "vert", au profit du "bleu", en fonction du temps. Les formes sont géométriques simples, sans préférence réelle, sinon pour le quadrangle. Les frontières sont souvent rectilignes. Les arcs courbes, volontiers situes dans la moitie supérieure du tableau, sont centrés à l'intérieur du cadre. Avec les années, le format augmente, le choix des formes et des couleurs se simplifie
Statistical analysis of 29 Picasso's painting leads to some genaral conclusions : balance is based uppon colored shapes distribution ; barycenter of weighted shapes is at the center of the frame (weights are luminance and c. I. E. Coordinates). R. G. B. Componants have the same importance. All shapes are simple geometrical ones. Most of the lines are rectilinear ; curved lines have their curvature center located inside the frame, most of the time on the upper half part years going on, Picasso's choices lead to larger side of frame and simplest colors and shapes

L’expression du mouvement dans l’art est un problème ancien. Les discutions ne cessent de s’alimenter sur cette question. Depuis un demi-siècle, les artistes ont eu le mérite d’avoir compris qu’à la conception d’un monde statique se substitue peu à peu celle d’un monde dynamique. Mais si leur mérite est de l’avoir compris, leur gloire vient de ce qu’ils mettent tout en œuvre pour accorder notre conscience à la réalité. La peinture et la sculpture sont une invitation à découvrir les incroyables richesses du monde visible en faisant appel à notre participation active. Car dans les formes immobiles, c’est notre regard qui découvre les mouvements grâce aux significations que nous révèlent l’artiste certes, mais l’attitude du spectateur reste fondamentale dans la perception de la réalité visible d’une œuvre. Par sa longévité et sa richesse, le parcours de Pablo Picasso fait corps avec le XXème siècle. La présente thèse est centrée sur l’expression du mouvement dans ses peintures, ses sculptures et ses céramiques, cherchant à en souligner les spécificités et les facteurs de continuité à travers le temps. Comment un artiste peut-il rendre par une peinture ou une sculpture, œuvres statiques par excellence, une impression de mouvement ? Des œuvres de Picasso, il se dégage une énergie artistique, un puits de créativité et la recherche permanente et inconditionnelle d’une autonomie artistique. Et toutes ces qualités sont profondément imprégnées de sa personnalité. Les analyses plastiques ainsi que les données historiques et bibliographiques nous permettront de mettre en lumière les moyens utilisés par le maître pour exprimer visuellement le dynamisme, nourrissant ainsi sa pratique de l’art. Pratique qui nous amène à nous interroger sur l’apport particulier du mouvement en art et sur la perception qu’en a le spectateur
The expression of the movement in art is an old problem. Discussed do not cease feeding on this question. For one half-century, the artists have had the merit to have understood that the design of a static world little by little that of a dynamic world replaces. But if their merit is to have included/understood it, their glory comes from what they put all works about it to grant our conscience to reality. Painting and the sculpture are an invitation to discover the incredible richnesses of the visible world by calling upon our active participation. Because in the motionless forms, it is our glance which discovers the movements thanks to the significances that reveal certainly us the artist, but the attitude of the spectator remains fundamental in the perception of the visible reality of a work. By its longevity and its richness, the course of Pablo Picasso forms a unit with the XXème century. The present thesis is centered on the expression of the movement in its paintings, its sculptures and its ceramics, seeking to underline of them specificities and the factors of continuity through time. How an artist can return by a static painting or sculpture, works par excellence, an impression of movement? Works of Picasso, it releases an artistic energy, a well of creativity and the permanent and unconditional search for an artistic autonomy. And all these qualities are deeply impregnated of its personality. The plastic analyses as well as the historical and bibliographical data will enable us to clarify the means used by the Master to express the dynamism visually, thus nourishing its practice of art. Practical which leads us to question us on the particular contribution of the movement in art and on perception that the spectator has some

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Este trabalho tem como princípio básico estudar alguns aspectos da visualidade da obra Guernica, de Picasso, indicando uma relação de significados que vão compor a gramática do pensamento visual deste artista , descrita numa análise de alguns dos esboços para a confecção do mural, utilizando como base científica os estudos gestálticos de Arnheim. Ainda estão incluídas nesta abordagem algumas breves considerações sobre a atualidade da obra através da presença de sua imagem nos meios multimidiáticos nos últimos dois anos. Apesar de ter a visualidade da própria obra como foco central, os aspectos ligados a vida pessoal do artista e os acontecimentos históricos pelos quais passava a Europa na ocasião da pintura do mural serão abordados, por serem, em minha opinião, de suma importância, nos levando a ampliar a compreensão do universo simbólico e dos sentimentos que Picasso poderia estar vivenciando naquela época, contribuindo no entendimento por exemplo, dos possíveis motivos da documentação da obra em nove fotografias que foi feita por Dora Maar, sua amante na ocasião. Deste modo, esta dissertação oferece aos interessados na obra Guernica uma nova reflexão acerca de sua imagem e aos interessados na vida de Picasso uma visão da ligação entre sua vida e esta que foi uma das mais simbólicas do conjunto de sua obra.
Este trabajo tiene como principio básico estudiar algunos aspectos de la visualidad de la obra Guernica, de Picasso, indicando una relación de significados que van a componer la gramática del pensamiento visual de este artista, descrita en un análisis de algunos de los bocetos para la confección del mural, utilizando como base científica los estudios gestálticos de Arnheim. Están incluidas también en este abordaje algunas breves consideraciones sobre la actualidad de la obra a través de la presencia de su imagen en los medios multimediáticos en los últimos años. A pesar de tener la visualidad de la propia obra como foco central, los aspectos conectados a la vida personal del artista y los acontecimientos históricos por los cuáles pasaba Europa en la ocasión de la pintura del mural serán abordados , por ser, en mi opinión, de suma importancia, llevándonos a ampliar la comprensión del universo simbólico y de los sentimientos que Picasso podría estar vivenciando en aquella época, contribuyendo en la comprensión por ejemplo, de los posibles motivos de la documentación de la obra en nueve fotografías realizada por Dora Maar, su amante en el momento. De este modo, esta disertación ofrece a los interesados en la obra Guernica una nueva reflexión acerca de su imagen y a los interesados en la vida de Picasso una visión de la conexión entre su vida y la que fue una de las más simbólicas del conjunto de su obra.

This thesis investigates, analyzes, and discusses Picasso's imagery in the cultural context of the nineteenth-century Spanish tradition of flamenco. Two published photographs featuring the elderly artist with the gypsy guitarist Manitas de Plata initiated the study, and led me to the conclusion that selected works by Picasso were influenced psychologically, thematically, and formally by his youth which was spent in the Andalusian province of Malaga and later in Barcelona. Picasso's early artistic education occurred at precisely the same time and place as The Golden Age of Flamenco in Spain, a cultural phenomenon that profoundly affected both his life and art.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2006.
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A dissertação aborda a questão do olhar a partir do entrecruzamento do conto "O Búfalo", de Clarice Lispector, e algumas obras de Pablo Picasso e de Man Ray. O conto - defrontado às obras e analisado a luz de conceitos psicanalíticos de pulsão escópica (Freud e Lacan) e da teoria e crítica da arte - guia o trabalho, que é elaborado à maneira de uma rede de comentários. Neste texto, Lispector traça uma parábola da desmontagem do olhar estruturado perspectivamente e da ultrapassagem da questão da forma em oposição seja ao conteúdo, seja à matéria - que é paralela à desestruturação promovida pela arte moderna, aqui representada por Picasso e Man Ray. As obras destes se relacionam ao texto de duas maneiras: por analogia entre algumas de suas representações de touros e minotauros e o búfalo que dá nome ao conto; e por sua pertinência à discussão sobre o informe. Resulta desta amarração uma apreensão o olhar clivado pelo desejo e não mais unilateral: um olhar que, ao destacar-se daquele que vê, olha-o. A arte, tanto imagética, quanto textual, aparece como estratégia sobretudo de cegamento, que esconde ao invés de mostrar, revelando o que constitui o visível.

In this thesis I argue against the conventionally held belief that collage as a form is defined through the mutual differences existing between the inserted material fragment and those signifiers that surround it. Examining works by Pablo Picasso and then turning my attention to Ezra Pound's Cantos, I seek to establish, within the related frameworks of visual and verbal collage respectively, a structural model of these and other such works predicated upon the continuity, not the distinctiveness, of fragment and host-text. Collage, I hope to show, is necessarily organic in structure due to the unstable nature of the linguistic sign, a phenomenon of language that informs the thesis from beginning to end. Ultimately, I aim to present this model as a metaphor for perception generally, as both a delineation and demonstration of the way in which one comes to know the world.

Orientador : Nelson Alfredo Aguilar
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O trabalho propõe um estudo dos anos formativos do artista Pablo Picasso, presentes nas três obras pré-cubistas pertencentes ao MASP: Retrato de Suzanne Bloch, Toalete e O Atleta. O estudo da obra Retrato de Suzanne Bloch, de 1904, volta-se para os interesses de Picasso após o abandono do aprendizado acadêmico, sua convivência com o meio artístico de Barcelona e a crítica desse meio e do próprio Picasso à arte acadêmica e à sociedade industrial. O estudo dos anos de 1905 e 1906 e da obra Toalete centra-se na transformação pela qual passa a obra de Picasso com o contato com as obras fauvistas e com meios artísticos que reclamam o retorno, da arte e da cultura, à herança mediterrânea da França e da Catalunha. A análise da obra de Picasso a partir do outono de 1906 leva aos interesses do artista presentes na obra O Atleta, do verão de 1909, um outro momento de trabalho na Espanha, em Horta de San Juan. Verifica-se a transformação do estilo no contato com a arte ibérica primitiva e com a arte tribal, e o novo impulso da crítica de Picasso à arte tradicional e à sociedade burguesa. Enfoca-se ainda o interesse de Picasso pela arte de Cézanne no contato com a obra de Georges Braque, observando as particularidades das obras dos dois artistas no período anterior ao Cubismo
Abstract: A study about Pablo Picasso' s formative years in the three pre-cubists works belonged to the Museu de Arte de São Paulo Assis Chateaubriand (MASP): Retrato de Suzanne Bloch (portraite of Suzanne Bloch), Toalete (Toilette) and O Atleta (The Athlete). The study of the painting Retrato de Suzanne Bloch, 1904, turns to Picasso's interests after leaving the academic training, his familiarity with Barcelona' s artistic circle and their critic to the academic art and industrial society. The study ofthe years 1905 and 1906 and ofthe Toalete is centered on the transformation which Picasso' s works goes through, after his contact with thefauves' work and with artistic circles that claims the french and catalan mediterranean heritages in art and culture. The study of Picasso's work from the auturnn of 1906 until the moment that O Atleta was painted, in the summer of 1909, observes the changes of the style after the artist' s contact with iberian primitive art and tribal art, and Picasso' s critic to the traditional art and to the bourgeois society. Focus is given to Picasso's contact with Georges Braque and after that a new interest for Cezanne's art
Mestrado
Mestre em História

Tese (doutorado)—Universidade de Brasília, Instituto de Psicologia, Departamento de Psicologia Clínica, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2017.
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De todas as construções humanas, a arte, talvez seja a que mais contribuiu para nos tornar humanos. No centro de toda cultura encontramos o impulso para criar objetos, interpretar cenas, produzir imagens, sons e movimentos, sendo os artistas, vistos como seres especiais, quase míticos. Um exemplo desse sentimento é o que encontramos em relação ao pintor espanhol Pablo Picasso (1881-1973), considerado como um dos principais artistas do período moderno e influenciador da estética contemporânea. Suas pinturas causaram um grande impacto na Europa e muita repercussão no resto do mundo, porém, a razão pela qual tantas pessoas ficaram fascinadas com as imagens por ele produzidas ainda é uma incógnita. Buscando compreender essa questão a partir de uma perspectiva psicanalítica, levanta-se a hipótese de que isso ocorreu devido a intensa manifestação de Eros sobre o artista, que produziu obras com fortes marcas dessa manifestação facilitando assim o processo de sublimação do público identificado com suas obras. Baseado nisso, o presente trabalho constitui-se em uma narrativa sobre a estética do desejo em Pablo Picasso, tendo por objetivo investigar a dinâmica inconsciente do artista por meio de sua produção, bem como, identificar de que modo sua obra se caracterizou também como um sintoma da cultura. Para tanto, foram realizadas observações de pinturas gravuras e desenhos do pintor que se encontram no acervo de museus da Espanha e do Brasil, bem como de obras que se encontram publicadas em literaturas específicas sobre a arte de Pablo Picasso. A partir disso, foram selecionadas algumas obras que, devido suas características, permitiam uma melhor observação da manifestação de Eros sobre o artista e, em seguida, foi realizada uma análise relacionando-se os elementos existentes nestas obras, a biografia do artista e conceitos da teoria psicanalítica. Posteriormente, visando uma melhor contextualização do fenômeno estudado, foram identificadas as principais características psicológicas da sociedade da época em que Picasso viveu, de modo a compreender em que medida ocorreram identificações entre a cultura e as produções do artista. Ao discutir os dados produzidos nesse processo constatou-se que a obra de Picasso apresentou uma grande mutabilidade ao longo do tempo devido as diversas formas de manifestação das pulsões do artista visando garantir a realização de desejos como: o desejo de liberdade, de querer mudar a realidade, de ser um objeto de amor e de querer controlar o outro. Tais manifestações, aliado ao alto grau de narcisismo encontrado na obra de Picasso, vão de encontro as principais características identificadas na sociedade em que que Picasso viveu, o que, dentro da narrativa produzida, confirma a ideia de que arte produzida por ele se configura em um sintoma da cultura. Por fim, concluiu-se o presente trabalho constatando que Picasso deu livre vazão as manifestações de Eros que sentia em si e, desse modo, construiu uma estética que reflete a realização de seus desejos narcisistas. Tal estética serviu como meio ideal para que indivíduos da sociedade moderna e contemporânea, identificados com sua obra, pudessem sublimar seus desejos com características semelhantes, razão pela qual entendemos, que tantas pessoas se fascinaram e ainda se fascinam pela obra de Pablo Picasso.
Of all human constructions, art may be the one that most contributed to make us human. At the center of every culture is the impulse to create objects, to interpret scenes, to produce images, sounds and movements, and the artists are seen as special beings, almost mythical. An example of this feeling is what we find in relation to the Spanish painter Pablo Picasso (1881-1973), considered as one of the main artists of the modern period and influential of contemporary aesthetics. His paintings have had a great impact on Europe and much repercussion in the rest of the world. However, the reason why so many people were fascinated with the images produced by him is still unknown. Seeking to understand this question from a psychoanalytical perspective, the hypothesis arises that this happened due to the intense manifestation of Eros on the artist, who produced works with strong marks of this manifestation facilitating the process of sublimation of the public identified with his works. Based on this, the present research constitutes a narrative about the aesthetics of the desire in Pablo Picasso, aiming to investigate the artist's unconscious dynamics through his production, as well as to identify in what way his work was also characterized as a symptom of the culture. To that end, observations were made of paintings of the painter's drawings and drawings found in the collection of museums in Spain and Brazil, as well as works that are published in specific literatures on the art of Pablo Picasso. From this, some works were selected which, due to their characteristics, allowed a better observation of the manifestation of Eros on the artist, and then an analysis was made relating the elements existing in these works, the artist's biography and psychoanalytic theory. Later, in order to better contextualize the studied phenomenon, the main psychological characteristics of the society of the time in which Picasso lived were identified, in order to understand to what extent identifications occurred between the culture and the artist 's productions. In discussing the data produced in this process it was found that the work of Picasso showed a great mutability over time due to the various forms of manifestation of the artist's drives in order to guarantee the fulfillment of desires such as: the desire for freedom, reality, of being an object of love and of wanting to control the other. These manifestations, together with the high degree of narcissism found in Picasso's work, go against the main characteristics identified in the society in which Picasso lived, which, within the narrative produced, confirms the idea that art produced by him is shaped by A symptom of culture. Finally, the present work was concluded, stating that Picasso gave free flow to the manifestations of Eros that he felt in himself and, in this way, constructed an aesthetic that reflects the fulfillment of his narcissistic desires. Such aesthetics served as an ideal means for individuals of modern and contemporary society, identified with their work, to sublimate their desires with similar characteristics, which is why we understand that so many people were fascinated and still fascinated by the work of Pablo Picasso.

Mise en relation d'oeuvres picturales entre elles, entre un tableau donné et un tableau fait d'après lui, l'analyse picturale est l'analyse d'une peinture par un peintre, avec des moyens picturaux. L'étude des caractéristiques de cette relation porte sur les Ménines de Picasso : celui-ci les peint d'après les Ménines de Vélasquez, et analyse "ses" Ménines en cinquante-sept tableaux consécutifs. A partir de cet ensemble unifié par l'activité du peintre se dégagent les rapports des tableaux entre eux et se dessine une loi interne de production, que Picasso modifie dans le temps. L'examen des thèmes morphologiques et iconiques met à jour la méthode de travail de Picasso, les principes mis en oeuvre et les conséquences de cette pratique; l'analyse oscille entre deux pôles: un pôle professionnel, qui privilégie les rapports entre tableaux au détriment des rapports du peintre avec ses tableaux: un pôle personnel qui insiste sur les rapports du peintre avec ses tableaux. Pour rendre l'analyse plus objective et privilégier les rapports entre tableaux, Picasso met en oeuvre une stratégie multiforme: il forge les allusions et des références à d'autres oeuvres, les siennes ou celles de grands peintres (Courbet, Goya, Rembrandt. . . ); il multiplie les dédicataires (Jacqueline, Pignon, Sabartes. . . ) Et organise l'histoire de "ses" Ménines selon des étapes d'exposition, de collection et de legs un musée. L'analyse picturale lui permet, par et au-delà d'une pratique, de prendre rang parmi ses pairs, du passé ou présent, dans une mutualité de peintres. La présente étude s'établit par et sur un va-et-vient entre textes et images des tableaux (photographie et croquis). Une lecture progressive mène à une explication de leurs rapports. On prend en compte les tableaux, leurs données premières, le moment de leur fabrication, de leur exposition, et, en complément, des tableaux et d'autres oeuvres de Picasso ou d'autres artistes, des textes qui éclairent sa pratique, et plus spécifiquement celle qu'il adopte pour "ses" Ménines
Pictorial analysis connects relations between one picture and another made according to it: it is an analysis of a painting made by a painter with pictorial means. This study of these relations concerns Picasso’s Meninas: he painted las Meninas according to Velasquez' ones and made an analysis of his own picture through fifteen-seven successive pictures. From this series, unified by his activity, relations give out and a law of production emerges. Picasso's working method is being discovered, so are the principles he put in play and the consequences of this practice; the analysis halts between two poles: a professional one which points at relations between paintings, indifferent to relations between the painter and his painting, - a person alone which insists on relations between them. As to make his analysis more objective, Picasso planed a multiform strategy: he fabricates allusions and references to other paintings and works, his proper ones or great painters’ ones. He produced large numbers of dedications, organized the story of his Meninas through exhibition, collection and legacy to a museum. This pictorial analysis warrants him by a practice and, beyond a practice, to get a good standing among his past or present peers in a mutual society of painters. This study, by a progressive reading of the pictures, conducts to an explanation of the relations the weave and call. So to do, we paintings, their basis, the moment of their elaboration and further, out of a serie, Picasso’s paintings and works; we examine too others artists' works and writings in order to explain Picasso’s general practice and more precisely the typical one he planed for his Meninas

Cette thèse aborde le temps et l'espace dans les écrits littéraires de Picasso tant du point de vue de la structure du texte et du manuscrit que du point de vue thématique. Picasso procède souvent par addition en faisant proliférer son texte, qu'il reprend sur des supports différents en des temps de Genèse différents. La reprise constitue un mode privilégie de création qui s'avère chez Picasso une force créatrice qui apporte la différence. Picasso abolit les règles de grammaire et de syntaxe préétablies et opère une "destruction de la langue" dans la langue. Nous pouvons qualifier cette écriture de "rhizome", (Deleuze et Guattari). En effet elle a pour principe l'expansion et la variation, le refus de la linéarité au profit de la discontinuité. D'une manière générale, son écriture est reliée à ses préoccupations de peintre qui remontent aux papiers colles et au cubisme, et notamment à la réflexion sur la nature et le fonctionnement des signes, sur le lisible et le visible. Quant à l'espace, il se présente comme un univers fini, ramené telle une substance organique à l'état d'un comestible. Il y a une labilité entre les divers espaces ainsi qu'une permutation des substances. Le corps = espace d'assimilation de l'extérieur vers l'intérieur = participe à toute une série de transformations et devient animal ou végétal. Le présent constitue le temps triomphant. L'instant s'élargit pour contenir une multiplicité d'évènements, grâce à une "intentionnalité longitudinale", qui contracte dans le présent toutes les dimensions du temps vécu. Nous assistons à une tension entre le temps cosmique et le temps vécu, exprimée d'une part à travers une omniprésence du temps calendaire que Picasso ne cesse d'indiquer, et d'autre part à travers une abolition de ses mesures
The focus of this thesis is the notion of time and space in Picasso's litterary writings, examined from the standpoint of the structure of the text and the manuscript, as well as from that of the thematic. Picasso often proceeds by aggregation, systematically multiplying his texts, and constantly "extending" them onton other supports, each such extension or ramification marking a new beginning. One of his preferred methods of creation is "repetition", source of the creative force whiche gives his work the stamp of originality. He does away pre-established grammatical and syntactical rules, thereby operating a "destruction of language" within language. To borrow Deleuze and Guattari's expression, we can qualify such a writing style as "rhizome". Its principle consists of expansion and variation on the one hand ; on the other, the refusal of unilinearity in favour of disontinuity. In general, Picasso's writing is linked to his preoccupations as a painter (particularly the cubist and "collage" periods), and his reflections on the nature and fonctionning of signs, the visible and readable. Space, in his treatment of the subject, presents itself as a completed universe, and which is reduced like an organic substance to an edible state. Between the various spaces exists both fluidity and a permutation of substances. The body - a space of incorporation of the external by the internal - partakes of an entire series of transformations, acquiring an animal or vegetal character to finish with. The present denotes triumphant temporality. The moment, through a "longitudinal intentionnality", spreads itself out to embrace a mutiplicity of events, thus condensing within the present every dimension of "lived experiece" (vecu). We witness a tension between cosmic time and "lived experience" which is expressed on one side by the omnipresence of calendar time, and on the other by an elimination of its referece points

This thesis investigates the significance of Pablo Picasso's lifelong appropriation of formal elements from paintings by Diego Velazquez. Selected paintings and drawings by Picasso are examined and shown to refer to works by the seventeenth-century Spanish master.

Les changements survenus dans l'art du XXe siècle se cristalliseraient autour de l'abandon des domaines de la peinture et de la sculpture. La structure qui, depuis la Renaissance jusqu'à la fin du XIXe siècle, canalisait la production artistique et y maintenait un certain ordre, commence à perdre de son actualité vers 1910. L'absence d'un système valable de classification pose un problème d'identité pour les œuvres qui ne s'ancrent plus dans un domaine particulier. Dans la mesure où celles-ci ne relèvent ni de la peinture ni de la sculpture, il devient difficile de les dénommer. Ce problème est traité à l'aide d'un cas exemplaire : les objets tridimensionnels exécutés par Picasso entre 1912 et 1915. S'il est impossible de leur assigner une place dans la structure existante et donc de trouver un terme adéquat pour les désigner, du moins peut-on tenter de les décrire. Le moyen de la description et, plus particulièrement, de l'analyse formelle a non seulement servi à mettre en évidence et à véritablement rendre visible le processus de constitution de ces objets, mais il a également permis d'éclairer certains aspects des transformations de la peinture et de la sculpture au XXe siècle
Changes that occurred in XXth century art could be outlined by the departure from the realms of painting and sculpture. The structure that since the Renaissance until the end of the nineteenth century channelled the artistic production and maintained a certain order, starts to lose its relevance around 1910. The absence of a valid system of classification raises the question in regard to the identity of works which are no longer anchored in a specific realm. Provided that these do not belong either to painting nor to sculpture, it becomes difficult to name them. This problem is studied with the following case: three-dimensional objects made by Picasso between 1912 and 1915. If it is impossible to assign them a place in the existing structure and consequently to find an adequate term to designate them, at least one can attempt to describe them. The means of description and, more specifically, of formal analysis has helped not only to underscore and to indeed make visible the process of forming these objects, but has allowed equally to reveal in some respect how painting and sculpture transformed throughout the XXth century

Pablo Picasso a entretenu des liens très intimes avec la littérature française représentées par les poètes du Bateau-Lavoir ou les surréalistes. Il est donc intéressant d’analyser – du point de vue du peintre- la nature de ces amitiés et quels avantages Picasso a pu en tirer. En outre, ces dernières permettent de comprendre l’interaction qui existe entre ces deux domaines. Toutefois, cette étude est axée sur les relations du peintre avec deux écrivains français : Michel Leiris et André Malraux. Ce qui met en évidence l’idée de « génération » : les deux écrivains sont nés la même année à Paris, puis les trois artistes subissent les mêmes influences et ont des centres d’intérêts communs
Pablo Picasso maintained bonds of friendship with french literature, I. E with poets from the “Bateau-Lavoir” or members of surrealism. It is then very interesting to analyse – from the painter’s point of view – the nature of these friendships and how efficient they have been on Picasso’s life. Besides, they give the opportunity to understand interction between these two fields of expression. However, this study is based on the relationship between the painter and two french writers : Michel Leiris and André Malraux. It focusses on the notion of “genereation” both writers were borned the same year in Paris, then the three artists will be under the same influence and share points of interest

The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.

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O trabalho intitulado A construção da imagem em O Espelho in Primeiras Estórias de João Guimarães Rosa e em Las Meninas de Pablo Picasso foi desenvolvido com o objetivo de analisar semioticamente as obras O Espelho, conto presente na coletânea Primeiras Estórias de João Guimarães Rosa, e Las Meninas, tela de Pablo Picasso, cujo ponto de partida foi a obra de mesmo nome do artista barroco Diego Velázquez, e, diante dessa análise, teoricamente embasada, pontuar uma possível intersecção entre ambos os textos, já que pertencem claramente ao campo da interdiscursividade. Verificou-se que a linguagem plástica, usada por Pablo Picasso, pintor do século XX, distancia-se dos elementos plásticos barrocos seiscentistas, havendo, em ambos os textos, uma oposição clara aos princípios clássicos. O Ator-pintor, presente nas telas cubista e barroca, simboliza a própria Arte que, apesar do transcorrer do tempo físico, é atemporal. Com relação ao conto, o jogo incessante de palavras, rimas internas, entre outros elementos, pontua o barroquismo frásico rosiano e, além de demarcar o ponto central da coletânea de Primeiras Estórias, questiona a forma e a existência da imagem em suas diversas maneiras de entendê-la. Sendo o “espelho-tempo-imagem” o principal ponto de intersecção entre textoverbal e texto-visual nesta análise, é ele que desencadeia o despir das formas no conto rosiano e as anamorfoses no retrato de Picasso, que é o Outro em relação à obra velazquiana, questão proposta e trabalhada ao longo deste estudo. O elemento “espelho-tempo-imagem”, que propõe a discussão sobre diferentes relações, entre as quais o enunciado Arte e a enunciação pressuposta (enunciador e leitor/espectador) gera um caminho de duplo sentido, mobilizando, por sua vez, esta dissertação.
This paper entitled The construction of the image in João Guimarães Rosa’s O Espelho in Primeiras Estórias and in Pablo Picasso’s Las Meninas was developed with the purpose of semiotically analyzing the works O Espelho, a short story present in João Guimarães Rosa’s Primeiras Estórias and Pablo Picasso’s painting Las Meninas, whose starting point was the baroque artist Diego Velázquez’s painting that has the same name, and from this analysis, theoretically based, to point out a possible intersection between both texts, since they clearly belong to the field of interdiscursiveness. It was verified that the plastic language used by Pablo Picasso, a twentieth century painter, distances itself from the sixteenth century baroque plastic elements, and there is in both texts a clear opposition to the classical principles. The author-painter, present in the cubist and baroque paintings, symbolizes Art itself which, in spite of the elapse of physical time, is atemporal. In relation to the short story, the incessant game of words, internal rhymes and other elements punctuates Guimarães Rosa’s phrasal baroqueness and, besides demarcating the central point of the collection Primeiras Estórias, questions the form and existence of the image in the diverse ways it can be understood. Since the “mirror-time-image” is the main point of intersection between the verbal text and the visual text in this analysis, it is what initiates the undressing of the forms in Guimarães Rosa’s short story and the anamorphoses in Picasso’s painting, which is the Other in relation to Velasquez’s work – a point that is proposed and worked throughout this study. The element “mirror-time-image”, which proposes the discussion regarding different relations, among them the enunciate Art and the presupposed enunciation (enunciator and reader/spectator), generates a path of double sense which, in its turn, mobilizes this dissertation.

Cette thèse porte sur l’oeuvre céramique de Picasso réalisé entre 1947 et 1971 en collaboration avec l’atelier Madoura à Vallauris. Il s’agit d’une étude détaillée des motifs, des approches et des principes qui expliquent le choix de l’artiste de développer cette pratique. Afin d’élargir l’accès à son oeuvre céramique, Picasso permet la reproduction d’une partie de ses créations.Cette entreprise correspond à un projet social qui voit le jour dans le contexte socio-politique de l’après-guerre marqué par son adhésion au Parti communiste français. La thèse évoque la question de l’édition sous ses différents aspects en expliquant pourquoi l’artiste avait choisi ce processus et jusqu’à quel point il l’a développé, d’une part en autorisant l’édition de ses céramiques en série limitée, et d’autre part en réalisant des dons et des legs à différentes institutions muséales. Dans la première partie, une étude contextuelle et historique montre comment s’accomplissent les premières collaborations entre artistes et céramistes de la fin duXIXe siècle jusqu’au premier quart du XXe siècle. Suit une présentation des débuts de Picasso dans le monde de la céramique puis de sa collaboration avec les Ramié à Vallauris. La deuxième partie expose d’une façon précise les techniques, les sources d’inspiration et les thèmes employés par Picasso pour réaliser ses céramiques. Quant à la troisième partie, elle situe tout d’abord l’oeuvre céramique dans le contexte politique et social de l’après-guerre, puis envisage les liens possibles entre son choix de réaliser des céramiques, son adhésion au PCF et l’ambition d’atteindre un large public. Enfin, l’oeuvre céramique de Picasso estcomparée à celle d’autres artistes afin de montrer les différents modèles de collaboration entre artistes et céramistes
This thesis is about the ceramic work of Picasso realized between 1947 and 1971 in collaboration with the workshop Madoura in Vallauris. It is a detailed study of the reasons, approaches and principles that explain the choice of the artist to develop this practice. To expand access to his ceramic work, Picasso allows the reproduction of some of his creations. This venture is a social project that was born in the socio-political context of the post-war marked by joining the French Communist Party. This thesis evokes the issue of publishing in its various aspects by explaining why the artist chose this process and how far he developed it, on one hand by authorizing the edition of his ceramics in limited series, and on the other hand by making donations and bequests to different museum institutions. In the first part, a contextual and historical study shows how the first collaborations between artists andceramists that take place from the end of the 19th century to the first quarter of the 20th century. This is followed by a presentation of Picasso’s beginnings in the world of ceramics and his collaboration with Ramié in Vallauris. The second part shows in a precise way the techniques, the sources of inspiration and the themes used by Picasso to realize his ceramics. As for the third part, it first places the ceramic work in the political and social context of the post-war period, and then considers the possible links between its choice to make ceramics, its adherence to the PCF and the ambition to reach a wide audience. Finally, the ceramic work of Picasso is compared to that of other artists to show the different models of collaboration between artists and ceramists

Le problème de la composition scénique n'est pas en contradiction avec les grandes questions du théâtre et de l'art en général. En effet, la scène théâtrale est le lieu où tous les effets et toutes les spécialités artistiques peuvent trouver place afin de créer un espace de représentation. La magie de ce dernier est le résultat du mélange de plusieurs expressions artistiques. Cette recherche a pour but de fixer les moyens plastiques utilisés dans une surface bidimensionnelle et montrer comment les dépasser pour en créer d'autres permettant la réalisation de tableaux scéniques de surface tridimensionnelle. Dans cette direction, nous prenons deux exemples. Le premier est celui de Picasso, le père du mouvement cubiste, avec sa philosophie de la déformation et le deuxième est celui de Dali, le surréaliste et sa paranoi͏̈a critique

El objetivo de la tesis es demostrar la influencia de la pintura pompeyana en la obra realizada por Picasso entre 1905 y 1907. Influencia que se apoya en el entorno picassiano y en el arte románico catalán a partir de Gósol.

El origen de esta tesis se encuentra en los cursos que impartí en la Universidad Ramon Llull (2005-2006). La doble faceta de pintora e historiadora del arte me permitió aportar a los alumnos la experiencia del pintor además de la del historiador. En las clases insistía en la independencia del lenguaje pictórico y estimulaba la búsqueda de todos los cuadros que están detrás de un cuadro. En este sentido, mostraba "La toilette" y el "Pastor con cesto" de Gósol junto a sus modelos pompeyanos. Mi discrepancia con la historiografía (vincula "La toilette" y "El harén" con el "Baño turco" de Ingres) así como la nueva luz que aportaban los parámetros interpretativos pompeyanos sobre el trabajo realizado por Picasso en esta época y la ausencia de investigaciones acerca de la influencia de la pintura pompeyana en la picassiana durante estos años, me decidieron a centrar mi tesis en esta temática.

Las lagunas y errores detectados en el estado de la cuestión, me aportaron la seguridad de que la superficialidad con la que se habían estudiado las obras de este ciclo había comportado una simplificación de las mismas y comprendí que podían superarse muchas de las ideas vertidas por la historiografía sobre esta época.

Fijación del período: el impacto causado por la venta de los frescos de Boscoreale en París (1903) liberó y canalizó los intereses de Picasso por la pintura pompeyana y el mundo panhelénico. Puede rastrearse la huella de la influencia pompeyana siguiendo las trazas del rojo cinabrio en las composiciones picassianas desde finales de 1904. Comienzo La investigación con "Desnudo sentado" (1905) donde, Picasso, reproduce el cromatismo pompeyano (tierras, rojizos), la apariencia del fresco y adapta la postura de Madelaine a un modelo pompeyano. Cierro la investigación con "Las señoritas" puesto que en este cuadro el artista culmina el diálogo mantenido desde 1905 con la pintura pompeyana y las religiones paganas.

El riguroso proceso analítico me ha conducido al interpretativo y este estricto método me ha facilitado respuesta a la pregunta inicial ¿De qué manera ha incidido la pintura pompeyana en la obra picassiana? Pudiendo resolver el enigma desde antes de Gósol hasta "Las señoritas".

Principales conclusiones:

1- Los modelos pompeyanos son vehículo para la representación de un proyecto filosófico-mágico-religioso y plástico: la búsqueda del desarrollo espiritual, el conocimiento y la inmortalidad según pautas de las antiguas religiones mistéricas.

2- Importancia del esoterismo y opio.

3- Rojos, rosas, tierras, ocres y azules proceden de la paleta pompeyana. La transición de la época azul a la rosa viene determinada por la paulatina introducción del rojo cinabrio pompeyano.

4- El retrato de Circe ("La mallorquina") inaugura las representaciones del viaje al Hades.
5- "Kouroi" y niñitos simbolizan el estado en el que se accede y se sale del Hades.

6- "La toilette" y "El harén" representan la iniciación de Fernande.

7- Introducción del concepto de "templo-burdel" de "diosa-prostituta".

8- Introducción del concepto de "bodegón votivo".

9- Eclosión de la influencia pompeyana en Gósol. Traducción del primitivismo ambiental. Fusión conceptual e iconográfica de modelos pompeyanos y románicos.

10- El románico proporciona a Picasso la máscara de la divinidad. Los retratos gosolanos de Fernande no son inexpresivos sino divinos: Ceres, Venus...

11- Desarrollo de un sistema personal de símbolos mediante objetos cotidianos. Fusión de liturgia pagana y cristiana.

12- La búsqueda del equilibrio por saltimbanquis y acróbatas es una metáfora del trabajo de equilibrio realizado por el iniciado.

13- Las señoritas es una gran teofanía pagano-cristiana en la que Picasso (artista y sacerdote) revela los misterios mediante los cuales lo mortales, como él, revivirán la experiencia de Baco y alcanzarán la unidad superior.

En "Las señoritas", Picasso replantea la antigua función sagrada del sexo. Posiblemente, el problema más grave con el que se ha enfrentado su interpretación ha sido la focalización del sexo como mecánica prostibularia. Esta asociación quizás no ha permitido a la crítica entender el sexo como lo exponía Picasso, como algo sagrado y salvaje al mismo tiempo, uniendo animalidad y misticismo en un único escenario.
"PICASSO'S ICONOGRAPHY BETWEEN 1905 AND 1907. THE INFLUENCE OF POMPEIAN PAINTING".

By Conxita Boncompte Coll.

TEXT:

The objective of the thesis is to demonstrate the influence of Pompeian painting on the work Picasso produced between 1905 and 1907, an influence that was supported by Picasso's milieu and his experience of Catalan Romanesque from his stay in Gósol.
The source of my thesis lies in courses I taught at the Ramon Llull University (2005-2006). My dual facets of painter and art historian meant that I could bring my students my experience as a painter as well as a historian. In my classes I insisted on the independence of all pictorial language by encouraging a search for all the pictures that lie behind a picture. I therefore showed "La Toilette" and "Shepherd with Basket" from Gósol alongside their Pompeian models. It was my discrepancy with historiography (which links "La Toilette" and "The Harem" with Ingres' "The Turkish Bath"), as well as the new light thrown by Pompeian interpretative parameters on Picasso's work of the period, and the absence of research on Pompeian painting and its influence on Picasso's work during these years, that decided me to centre my thesis on this issue.
Gaps and errors that I detected in the state of the art convinced me that the superficiality with which the works of this period had been studied had drawn a veil of banality over them, and I realised that many of the ideas employed by historiography on the period required a re-reading.
Establishing the period: the impact caused by the sale of the Boscoreale frescos in Paris (1903) awakened and shaped Picasso's interest in Pompeian painting and the Panhellenic world. This Pompeian influence can be tracked by following the traces of cinnabar red in Picasso's compositions from late 1904 onwards. The research begins with the "Seated Nude" (1905) where Picasso reproduces Pompeian chromatism (earths, reddish shades), the appearance of the fresco, and adapts "Madelaine'"s posture to the Pompeian model. It ends with the "Les Demoiselles d'Avignon", the picture with which the artist culminates his dialogue, maintained since 1905, with Pompeian painting and the pagan religions.
This rigour of the analytical process has led the process of interpretation, and the strict method followed has allowed me to find
answers to the questions I set myself at the outset - about the influence of Pompeian painting on Picasso's work - and resolve the enigma from before Gósol to the "Les Demoiselles".

Key findings:

1- Pompeian models are a vehicle for presenting a philosophical-magic-religious and plastic project: the search for spiritual development, knowledge and immortality based on the ancient mysteric religions.
2- The importance of esotericism and opium.
3- Reds, pinks, earths, ochres and blues come from the Pompeian palette. The transition from the blue to the pink period was marked by the gradual introduction of Pompeian cinnabar red.
4- The portrait of Circe ("La Majorquine") is the first in a series of representations of the journey to Hades.
5- "Kouroi" and small children symbolise the state in which we arrive at and depart from Hades.
6- "La Toilette" and "The Harem" represent Fernande's initiation.
7- The introduction of the concepts of "temple-brothel" and "goddess-whore".
8- The introduction of the concept of "votive still-life".
9- The emergence of the Pompeian influence in Gósol. The translation of environmental primitivism. The conceptual and iconographic fusion of Pompeian and Romanesque models.
10- The Romanesque gave Picasso the mask of divinity. The Gósol portraits of Fernande are not inexpressive but divine: Ceres, Venus, etc.
11- The development of a personal system of symbols from everyday objects. The fusion of pagan and Christian liturgy.
12- The search of tumblers and acrobats for balance is a metaphor for the work on balance carried out by the initiated.
13- "Les Demoiselle"s is a great pagan-Christian theophany in which Picasso (artist and priest) reveals the mysteries through which mortals like him can relive the experience of Bacchus and attain a higher unity.
In "Les Demoiselles", Picasso returns to the ancient sacred function of sex. Possibly the most serious problem in its interpretation has entailed the focalisation of sex as a mechanism of the brothel. This association may have hindered critics from understanding sex as Picasso portrayed it, as something sacred but wild, uniting animality and mysticism in the same scenario.

La fragilité est une notion importante dans la sculpture contemporaine. Cette thèse s’interroge sur ses aspects chez deux des plus influents artistes de l'histoire de l'art au XXe siècle : Pablo Picasso et Marcel Duchamp. Nous nous interrogeons dans ce sens sur les facteurs qui ont favorisé l’avènement de la fragilité dans leurs pratiques : contexte historique, traditions populaires revisitées par la modernité, évolution du regard porté sur les matériaux, pratiques artistiques novatrices, contraintes et techniques de conservation. Notre recherche aborde bien entendu la question de la fragilité/la vanité de l’être humain que nous traitons dans les champs historique et philosophique – à travers ses dimensions esthétique, philosophique et spirituelle – mais dans les champs du sacré et de la science à partir du corps et de la mémoire tels que nous les observons se manifester dans le champ artistique. Pour montrer la prégnance de ce qui nous paraît relever du concept de fragilité, tel que nous l’aurons auparavant défini chez Duchamp et Picasso et des formes qu’il revêt, nous nous appuyons sur leurs œuvres en verre et papier. Notre étude analyse ces œuvres tant à travers le concept de fragilité qui s’y déploie qu’à l’aune de leur matérialité. Par ailleurs, l’usage des matériaux fragiles amène les artistes à privilégier certaines techniques qui ont pour objectif de protéger et d’assurer la conservation de leur travail : un tel processus aboutit au nouage serré, voire parfois inextricable, de leur démarche artistique et de leur pratique. Les modes de conservation de l’œuvre fragile constituent donc également l’un des axes de notre thèse. ---Pour finir, nous présentons notre propre pratique artistique, nourrie de notre approche de la fragilité et, bien sûr, de toutes les œuvres et références que nous aurons étudiées tout au long de notre recherche
Fragility is an important notion in contemporary sculpture. This thesis examines its aspects in two of the most influential artists in the history of art in the 20th century: Pablo Picasso and Marcel Duchamp. In this sense, we question the factors that have favored the advent of fragility in their practices: historical context, popular traditions revisited by modernity, changes in the way we look at materials, innovative artistic practices, constraints and conservation techniques. Our research of course addresses the question of the fragility/vanity of the human being that we deal with in the historical and philosophical fields - through its aesthetic, philosophical and spiritual dimensions - but in the fields of the sacred and of science from of body and memory as we observe them manifesting themselves in the artistic field. To show the significance of what seems to us to fall under the concept of fragility, as we have previously defined it with Duchamp and Picasso and the forms it takes, we rely on their works in glass and paper. Our study analyzes these works both through the concept of fragility that unfolds there and in terms of their materiality. Furthermore, the use of fragile materials leads artists to favor certain techniques whose objective is to protect and ensure the conservation of their work: such a process results in the tight, even sometimes inextricable knotting of their artistic approach and their practice. The modes of conservation of the fragile work therefore also constitute one of the axes of our thesis. ___Finally, we present our own artistic practice, nourished by our approach to fragility and, of course, by all the works and references that we will have studied throughout our research

On croit connaître Renoir. On se trompe. Renoir est mal vu. Littéralement et dans tous les sens. Mal vu parce que des points fondamentaux de sa vie, de son œuvre et de sa trajectoire demeurent encore soit mal interprétés, soit méconnus. Mal vu parce que des procès sans fondement sont régulièrement instruits à charge contre le peintre. Porter aujourd’hui un regard neuf sur Renoir suppose donc qu’on révise un certain nombre de jugements et d’idées reçues. Qu’on revienne sur sa position – plus complexe qu’on ne le croit – à l’égard de l’impressionnisme. Qu’on reconsidère sa relation – plus décisive qu’on ne l’admet – avec Cézanne. Qu’on s’attarde sur la dernière manière de Renoir, présentée par celui-ci comme l’accomplissement de toute sa carrière et pourtant systématiquement négligée par les commentateurs récents. Cela suppose enfin qu’on prenne la véritable mesure du rôle, très sous-estimé jusqu’à présent, joué par Renoir auprès de deux géants du XXe siècle : Matisse et Picasso
We think we know Renoir. We’re mistaken. Renoir is badly viewed, both literally and figuratively. Badly viewed because fundamental aspects of his life, his work, and his trajectory remain either badly interpreted, or overlooked. Badly viewed because absurd charges are regularly brought against him. Renewing our views on Renoir today implies revising a number of judgments and received ideas. We need to revisit his position – more complex than some believe – regarding impressionism, and to reconsider his relationship – more decisive than some admit – with Cézanne. We need to linger on Renoir’s final period, which he himself considered to be the culmination of his career, and yet which has been systematically neglected by recent commentators. And last, but not least, we need to take the full measure of Renoir’s influence, previously greatly underestimated, on two giants of the twentieth century : Matisse and Picasso

Cette étude se focalise sur l’examen conjoint des représentations du corps dans les œuvres de Pablo Picasso et de Raymond Duchamp-Villon. Afin d’apporter un éclairage nouveau sur la représentation du corps cubiste, notre objectif est d’examiner la portée de la connaissance de l’anatomie artistique, branche scientifique se rapportant non seulement à l’anatomie (au sens plus spécifique de l’ostéologie et de la myologie) mais aussi à l’étude de la proportion humaine, à la physiologie, la physionomie, l’ethnologie, l’anthropologie et la morphologie. En élaborant une nouvelle interprétation des images cubistes qui la relierait à la fois à la science anatomique et au classicisme dans le cadre de l’histoire de l’art, notre recherche ouvre une étude morphologique du cubisme à de multiples disciplines, comme l’esthétique et l’épistémologie. Si la recherche picturale de Picasso porte sur la structure du corps humain, Duchamp-Villon cherche pour sa part à représenter le dynamisme et la vitalité du corps. En d’autres termes, en partant des mêmes savoirs scientifiques ces deux artistes proposent deux modalités différentes de l’architectonique de la représentation du corps : se dispensant de théoriser cette architectonique, Picasso et Duchamp-Villon découvrent une expression du corps qui leur est propre. Par ce biais, nous cherchons à mettre en lumière les modalités par lesquelles le schéma cubiste se forme dans l’oscillation entre art et sciences, intuition et intelligence, subjectivité et objectivité, métamorphose organique des images et modélisation mécanique du corps
This study focuses on the analyses of the representations of the human body in the works of Pablo Picasso and Raymond Duchamp-Villon during their cubist periods. In order to shed some new light on the representation of the body in the cubist works of these two artists, the importance and the modality of the artistic anatomy is examined. This includes branches of science related not only to the anatomy (specifically osteology and myology), but also to the study of human proportion to the physiology, physiognomy, ethnology, anthropology, and morphology. Developing a new interpretation of Cubist images that is linked both with anatomical science and classicism in art historical context, this research corresponds to a morphological study of Cubism in multiple disciplines, such as aesthetics and epistemology. In particular, this study's aim is to consider two different forms of architectonic representation of the cubist body, starting from the same scientific knowledge. If research of Picasso is concerned mostly with the structure of the human body, Duchamp-Villon's seeks the dynamism and vitality of the body: far from axiomatizing scientific knowledge, the two artists rectify it in their own way to discover their unique expressions. Through this, the method by which the cubist pattern is formed in the oscillation between art and science is clarified, between: intuition and intelligence; subjectivity and the objectivity; and organic metamorphosis of images and the schematization of the mechanical body

Cette recherche vise à développer quatre aspects particuliers qui concernent le cubisme de Braque et Picasso. D’abord quels ont été les faits marquants du cubisme au moment de sa naissance à travers les critiques du français Louis Vauxcelles. Puis, pour mieux saisir le mouvement, une synthèse des nombreuses définitions avancées par les critiques et les historiens d’art durant tout le 20e siècle, constituera la base d’une tentative de redéfinition globale du cubisme en sa phase analytique. On souligne ensuite l’importance de la réflexion cubiste en s’arrêtant à la modification de la représentation picturale par la décomposition de l’objet sur une surface plane qui aboutit sous l’empire de l’hermétisme à une nouvelle structure spatiale mettant alors l’accent sur la dissolution de l’objet et de la figure humaine. Finalement, l’analyse sémiotique de deux œuvres clés de Picasso et Braque de 1910 et 1911 permet de cerner plastiquement la notion même de réalisme que l’on trouve dans cette période analytique la plus hermétique.
Montréal Trigonix inc. 2018

Cette thèse propose de mettre en comparaison musique et peinture à travers l'analyse de l'acte créateur chez Schönberg et Picasso. Nos hypothèses s'appuient sur la description des trois phases de la création par le psychologue Anton Ehrenzweig dans son ouvrage "L'ordre caché de l'art" et sur le fonctionnement du travail de rêve explicité dans "L'interprétation du rêve" de Sigmund Freud. Ainsi, nous comparons d'une part, l'évolution de la création de Schönberg et de Picasso - notamment les courants cubiste et dodécaphonique sériel - en fonction des quantités d'élaborations primaire et secondaire entrant en jeu dans les mécanismes psychiques de la création. D'autre part, nous montrons l'impact que ces processus primaires et secondaires peut avoir sur les matériaux choisis pour exprimer leur intentions artistiques, ces processus variant tout au long de l'existence créatrice. Les mécanismes du travail de rêve permettent d'apporter un nouvel éclairage sur l'organisation de la structure interne de l'œuvre d’art moderne, tout en contournant les tentatives controversées d'équivalence entre les arts
This thesis proposes to compare music and painting through an analysis of the creative act as expressed by Schönberg and Picasso. Our hypotheses are based on the description of the three phases of creativity by the psychologist Anton Ehrenzweig in his work The hidden order of art and on the functioning of the dream work as set forth in Sigmund Freud’s The interpretation of dreams. We thus first compare how Schönberg and Picasso's creativity evolved - notably the Cubist and serial dodecaphonic movements - according to the extent of the first and secondary elaborations coming into play in the creative psychic mechanisms. Secondly, we show the impact that these primary and secondary processes can have on the materials chosen to express their artistic intentions, these processes varying throughout the creative life. The dream work mechanisms allow new light to be shed on the organisation of the internal structure of works of modern art, while circumventing controversial attempts to establish equivalence between the arts

Aquesta tesi tracta sobre la influència que l’art català va exercir sobre Picasso durant els anys que aquest artista va residir a Catalunya. Aquesta influència no es planteja en abstracte sinó que es vehicula a través d’un parell d’artistes concrets, Santiago Rusiñol i Isidre Nonell. La tria és deguda a que van ser els artistes més representatius de les dues generacions amb les que es relacionà Picasso. Santiago Rusiñol pertanyia a la vella generació modernista, de la que era el principal referent. Isidre Nonell, sense ser un líder en sentit estricte, va ser l’artista més emblemàtic de la següent generació, que suposava un trencament respecte als postulats de la generació que representava Rusiñol, de manera que Picasso va evolucionar de la primera cap a la segona. El motiu d’escollir aquests dos artistes és degut a que responen a la condició de “paradigmes”, no només perque entre tots dos abasten bona part dels registres de l’art català del seu temps, sinó per que en alguns casos fins i tot en són els capdavanters. La recerca s’ha centrat en els diversos nivells d’influència possibles, des de l’exercit pels mateixos artistes de forma directa, fins els que, de manera el·líptica, provenen de les propostes o dicursos que tots dos representaven. Això donarà lloc a que s’eixampli el camp d’estudi, per porositat, cap a altres artistes que puntualment van intersseccionar amb Rusiñol o Nonell i que, d’una u altra manera, van influir sobre l’obra picassiana. Aquesta recerca s’ha realitzat, bàsicament, en base al mètode formal i a l’iconogràfic, en el ben entès que s’ha comparat l’obra dels tres artistes. Tot plegat ha permès descobrir noves influències i, de retruc, noves lectures de l’obra de joventut de Picasso. Però les influències sobre Picasso tenen gairebé sempre una naturalesa multidireccional i, quan es produeixen, no sempre resulten explícites atès que Picasso normalment el·ludeix la còpia directa i empra formes d’apropiació més subtils, que també consignem en aquesta tesi. Si bé és coneguda la vinculació de Picasso amb l’art català durant els seus anys barcelonins, a dia d’avui no s’havia analitzat amb tanta profunditat la incidència de dues personalitats com Rusiñol o Nonell sobre l’obra picassiana. Malgrat que aquesta tesi estableix una comparativa entre Picasso i dos artistes concrets, l’objectiu final resideix en elaborar un discurs unitari per agragació dels dos cossos teòrics. En definitiva, demostrar com la influència de l’art català sobre Picasso no només fou una realitat sinó que va tenir lloc a través dels seus principals representants i en un grau d’intensitat inconegut fins a dia d’avui.
This thesis considers the influence of Catalan art on Picasso during the period when he lived in Catalonia. This subject is explored not in the abstract but through two particular artists, Santiago Rusiñol and Isidre Nonell, chosen because they were the most representative artists of the two generations with which Picasso mixed. Rusiñol belonged to the old Modernista generation and was its leading light. Isidre Nonell was not a leader per se, but he was the most iconic artist of the following generation, which broke with the postulates of Rusiñol’s circle, meaning that Picasso shifted from the earlier to the later generation. The reason for this choice of two particular artists is that they are ‘paradigms’, not just because they encompass many of the registers of Catalan art of their time, but because in some instances they even led them. The research focuses on the various possible levels of influence these artists exercised, from the direct inspiration they gave to the more elliptical stimulus provided by the works and discourses they represented. As a result, the field of study widens to encompass other artists who crossed paths by chance with Rusiñol or Nonell and who, in one way or another, influenced Picasso’s work. Above all, this research has been carried out on the basis of the formal and iconographic method, inasmuch as works by the three artists have been compared. This has revealed new influences and, in consequence, new readings of Picasso’s work in his youth. Nevertheless, the influences on Picasso are in almost all instances multidirectional in nature and, when they occur, they are not always explicit, since Picasso normally avoided direct copying and inclined towards more subtle forms of appropriation, as is also confirmed in this thesis. While Picasso’s link with Catalan art during his years in Barcelona is well known, the impact of Rusiñol or Nonell on his work has not been analysed in any great depth to date. Even though this thesis draws a comparison between Picasso and these two particular artists, the ultimate aim is to formulate a single discourse combining two bodies of theory. In short, the goal is to demonstrate that the influence of Catalan art on Picasso was not just a reality but that it was transmitted through its two luminaries and was of a hitherto unknown strength.
Esta tesis trata sobre la influencia que ejerció el arte catalán sobre Picasso durante los años en que este artista residió en Catalunya. Esta influencia no se plantea en abstracto sino que se vehicula a través de dos artistas concretos, Santiago Rusiñol e Isidro Nonell. La elección se debe a que fueron los artistas más representativos de las dos generaciones con las que se relacionó Picasso. Santiago Rusiñol pertenecía a la vieja generación modernista, de la que era su principal referente. Isidre Nonell, sin ser un líder en sentido estricto, sería el artista más emblemático de la siguiente generación, que suponía una ruptura respecto a los postulados de la generación que representaba Rusiñol, de manera que Picasso basculó de la primera hacia la segunda. El motivo de escoger dos artistas concretos es debido a que ostentan la condición de “paradigmas”, no sólo porque entre ambos abarcan buena parte de los registros del arte catalán de su tiempo, sino porque en algunos casos incluso los lideran. La investigación se ha centrado en los diversos niveles de influencia posibles, desde el ejercido por los propios artistas de forma directa, hasta el que, de manera elípitica, procede de las propuestas o discursos que ambos representaban. Ello provocará que el campo de estudio se ensanche, por porosidad, hacia otros artistas que eventualmente interseccionaron con Rusiñol o Nonell, y que de una manera u otra influyeron sobre la obra picassiana. Esta investigación se ha realizado, sobretodo, en base al método formal y al iconográfico, en la medida que se han comparado obras de los tres artistas. Ello ha permitido descubrir nuevas influencias y, en consecuencia, nuevas lecturas de la obra de juventud de Picasso. No obstante, las influencias sobre Picasso tienen casi siempre una naturaleza multidireccional y, cuando se producen, no siempre son explícitas pues normalmente Picasso elude la copia directa y tiende hacia formas de apropiación más sutiles, que también consignamos en esta tesis. Si bien es conocida la vinculación de Picasso con el arte catalán durante sus años en Barcelona, a dia de hoy no se había analizado con tanta profundidad la incidencia de dos personalidades como Rusiñol o Nonell sobre la obra de Picasso. A pesar de que esta tesis establece una comparativa entre Picasso y dos artistas concretos, el objectivo final consiste en elaborar un discurso unitario por agregación de dos cuerpos teóricos. En definitiva, demostrar que la influencia del arte catalán sobre Picasso no tan solo fue una realidad sino que se vehiculó a través de sus principales representantes y en un grado de intensidad hasta hoy desconocido.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
Which phenomenon is related to the experience that occurs between spectator and work of art? This is the question that will outline the following hypothesis: sublimation makes this experience possible by moving the spectator and eliciting one s desire to create. The idea that the work of art puts the spectator in an unsettled state that demands meaning will be explained by Freud s experience with Moses s statue, André Green s experience with the London Cartoon and Ada Morgenstern s experience with Perseus and Medusa. These authors will lead the readers into thinking sublimation as being closely related to artistic production. Moreover, this concept will be analyzed based on the psychoanalytical theory, going from Freud to other authors such as Laplanche, Loewald and Lacan, who also contributed to the development of the subject. The appreciation of Picasso s Guernica will be used in order to articulate appreciation and sublimation. This painting was responsible for a great psychic mobilization, which inspired reflection and an investigation about this state and its meanings. As an active part of the process, the writer s/spectator s associations will guide the research. In the moment the spectator is touched or surprised by the work of art, one s network of meanings is struck and one seeks significance to the cause of this surprise. The work of art, therefore, provokes ones desire to create
O que está atrelado à experiência que ocorre entre a obra e o espectador? Essa questão irá delinear a hipótese de que a sublimação propicia essa experiência ao mobilizar o espectador e suscitar nele o desejo de criar. A partir da experiência de Freud diante da estátua de Moisés, André Green diante do Cartão de Londres e de Ada Morgenstern diante de Perseu e Medusa, será desenvolvida a idéia de que a obra põe o espectador em um estado desconcertante que demanda um sentido. Esses autores nos farão pensar na noção de sublimação, a qual se encontra muito relacionada à produção artística. O conceito de sublimação será trabalhado à luz da teoria psicanalítica, partindo de Freud e buscando autores que contribuíram para o desenvolvimento dessa noção, entre estes, Laplanche, Loewald e Lacan. Para articular a apreciação e a sublimação, tomaremos a apreciação do quadro Guernica, de Picasso, que suscitou em mim uma enorme mobilização psíquica e motivou uma reflexão, uma análise acerca desse estado e suas conseqüentes significações. O que guia o desenvolvimento da pesquisa são as associações da escritora/espectadora implicada em todo o processo. Ao se ver impactado pela obra, o espectador é atingido na sua rede de significações e busca dar um sentido a isso que o surpreende. A obra, portanto, provoca nele o desejo de criar

Marie Vassilieff est une artiste franco russe qui fut célèbre en son temps, peu à peu oubliée par les critiques et écrivains d’art et qui surgit de l’ombre à la charnière des deux siècles au moment de l’exposition de Montparnasse de 1998, puis de celle consacré à l’Ecole de Paris en l’an 2000. L’aspect optimiste de sa création a autant plus de valeur pour nous qu’y perçoit le rire à travers les larmes, selon l’esthétique du théâtre forain, du Balagantchik russe, de la mythologie de Pierrot, de l’Arlequin (ou de Petrouchka russe), très proche d’elle. Sa création fut joyeuse malgré les souffrances morales de sa vie. Le but de cette thèse est non seulement d’exposer de manière neuve l’importante influence des événements de la vie de Marie Vassilieff dans l’iconographie de son oeuvre , mais, aussi et plus essentiellement encore, d’analyser les heurts de sa biographie écrits, en cherchant la vérité là, où, sous l’œil subjectif de l’artiste, la réalité des choses est un peu transformé. (Marie Vassilieff était une écrivaine douée. ) Nous allons effectuer au cours de cette thèse des parallèles entre les œuvres de Marie Vassilieff et celles de ses confrères reconnus dans le but de définir, de cette façon, la place de Marie Vassilieff parmi les autres grands artistes de la même époque
The settlement of Montparnace by artists and poets in the beginning of the 20 th centrury coincided by time with the new “wave” of Russian talents : Mark Shagal, Sergey Sharshun, Haim Sutin, Maria Vasilyeva – Marie Vassilieff. The author regards the gifted Russian artist Marie Vassilieff, who lived and worked at Monparnace hundred years ago (her works were presented at the exhibition Ecole de Paris that took place in winter 2000/2001 at the Paris Museum of Modern Art). The former became the matriarch of Monparnace clan when she was 25. The history of her life occupies 620 pages of the “thèse”, containing the events of that time artistic bohemia, meetings that became legendary, and also the establishment of Academia Marie Vassilieff that attracted such students as Picasso, Brak, Leger, Modiliani, Sutin, Tsadkin… While preparing the “thèse”, it became obvious the Vassilieff was inequitably “forsaken” : it was difficult to find her works ; fortunately, there is collector Claude Bernés in Paris who has the biggest part of the heritage. (Claude Bernés appeared very farseeing and although there is no museum of Marie Vassilieff, there exists the collection of her works in the small apartement on rue Pierre Senar where the cult of person of artist is thriving. ) Vasilieva’s life was as dramatic as was the life of any woman who chose art and freedom

Ce travail repose sur l'etude d'une oeuvre, celle de michel leiris, dans le cadre d'une problematique plus generale touchant aux rapports entre peinture et ecriture : transferts, confrontations, alliances et refus. Ces rapports mutuels sont soumis a la reconnaissance d'une separation radicale des signes qui fonde pour une part essentielle les jeux de l'ecriture face au visible. Leiris fait passer la confrontation de l'ecriture et de la peinture, du regard et du langage, par la reconnaissance, ludique et theorique, de cet ecart. Le vestige des images autobiographiques, la passion du regard ethnographique, les jeux visuels du poeme et le gout pour certains types de spectacles (tauromachie et opera) y contribuent autant et plus que le discours amical sur le prestige des peintres contemporains : masson, miro, giacometti, picasso, lam, bacon. Un parcours des textes consacres a chacun de ces peintres a permis de mettre a jour vertains elements fondateurs de la poetique leirisienne de la peinture, qui se trouvent etre aussi les enjeux de la poesie, de l'autobiographie, et de l'ethnographie : etude attentive et exaltee d'une langue secrete, jeux systematique sur les signifiants, et singulierement sur les noms propres, reconnaissance de l'alterite et ethique de la subjectivite, fascination de la presence et interrogation incessante des images du corps. On a fait appel a des lectures croisees inspirees par la textanalyse, sans negliger l'histoire des circonstances et des amities
This work is meant to make a contribution to investigation on relationship between writing and painting in xxth century. Michel leiris (1901-1990), aside from being one of the most original creators among french surrealists, devoted an important part of his work to painting criticism. Before analyzing on andre masson, joan miro, alberto giacometti, pablo picasso, wifredo lam and francis bacon - the poet, autobiographer, ethnographist and critic having been for a long time their close friend - , our aim has been to show the recurrent presence of a certain number of imaginary structures in his ethnographic, poetical, autobiographical and fiction work, to study how these structures were protected into his appreciation and poetics on painting. Concentration on images of blood and red colour, lingering assertion of a perspective angle of vision, numerous poetic puns around name and surname, references to translation and foreign artists original languages, are here studied as elements of a writing on vision, visual, and visibility

L'œuvre d'Ovide constitue une inépuisable source d'inspiration pour les écrivains et les artistes français ou européens. Du Moyen Âge jusqu'à l'époque romantique, des poètes, des peintres et des musiciens se réfèrent en permanence aux Métamorphoses et à L'Art d'Aimer d'Ovide. Au XXème siècle, avec l'avènement d'une pluralité de mouvements esthético-littéraires, nous constatons que la présence d'Ovide se maintient à un niveau important. Des peintres, comme Salvador Dali et Pablo Picasso, qui avec leurs œuvres ont ouvert de nouvelles voies, dans le milieu figuratif, peignent, le premier L'Art d'Aimer et le second les Métamorphoses d'Ovide. Des poètes célèbres comme Guillaume Apollinaire et Jean Cocteau écrivent, le premier des œuvres poétiques et le second une pièce de théâtre ainsi que des scénarios de films inspirés par les héros mythiques ( Éaque, Icare, Hercule, Orphée) des Métamorphoses d'Ovide. Des musiciens comme Igor Stravinsky et Darius Milhaud composent des opéras et des ballets, influencés par l'œuvre du poète latin. En général, le courant artistique créé par les écrivains et les artistes de l'avant-garde a trouvé dans le personnage d'Orphée, qu'Ovide a représenté si subtilement, une très riche matière. Les arts et les lettres valoriseront encore d'autres grandes figures - tant il est vrai que l'œuvre ovidienne demeure étonnamment vivante vingt siècles après sa création
Ovid's work was and always will be an inexhaustible source of inspiration for French writers and artists and Europeans generally. Since the Middle ages and the years of the late romanticism, poets, painters and musicians constantly refer to ideas from Ovid's "Metamorphoses" and the "Ars Amatoria". .

The main scope of this doctoral thesis was the evaluation of micro- and non-destructive techniques applied to artwork characterization. The need to study capabilities and limitations of these techniques arises from their increased use in the field of Cultural Heritage, without sufficient previous evaluation. Oil paintings, photographs and a large metal alloy object were investigated as representatives of three important artwork categories. Chapter 1 is an overview of the material properties of the artwork types investigated. Chapter 2 presents the study of the detection limits and the evaluation of the reproducibility of SEM-EDS and micro-FTIR in the application to paint layer investigation. Despite the good quality of the obtained spectra and the high sensitivity of these techniques, the low amount of material and the distribution of the different compounds across the sample made it difficult to obtain representative results. These problems could partially be overcome by analysing large areas rather than spots for SEM-EDS and performing replicates on different points of the specimen for micro-FTIR. Moreover, the capacities and limitations of midIR-FORS when employed to the examination of oil paintings were evaluated. It has been proved that the detection limits for this kind of set-up are especially high, although the major areas investigated permit to achieve better reproducibility and more representative information with respect to micro-FTIR. The physical feature/roughness of the analysed surface is a critical factor that may cause distortions in the spectra and be responsible for a decreased signal-to-noise ratio. It was achieved the creation of pigment mapping of oil paintings by means of midIR-FORS and multivariate methods. In a comprehensive study, the optimal data pre-processing methods as well as a protocol for the application of PCA and PLS-DA for FORS spectra modelling have been proposed. Furthermore, these methods were successfully applied to investigate and prove the influence of the surface roughness on the variability of the FORS spectra. Chapter 3 is focused on the assessment of the palette that was used by Pablo Picasso during the first years of his artistic career. The non-destructive punctual analysis techniques allowed achieving mappings of the elements/compounds detected across the entire surface of six portraits and it was possible to obtain a wide information about all the different regions of the artworks. In this study, it has been confirmed that an important limitation of this kind of techniques is the lack of information about the in depth composition and materials distribution, which has been partially overcome with the simultaneous and accurate evaluation of all available data complemented with NIR reflectography and XR radiography. In Chapter 4 the establishment of a procedure for faded silver image recovery in old photographs using XRF spectroscopy is proposed. The optimization of the method for sulphur detection in a first step, and the possibility to investigate two emblematic cases of silver images with this method allowed the demonstration of a relation between sulphur and silver, which is a key to the identification of high density areas that have lost the silver component over time. Chapter 5 present the study of the optimization and application of an analytical method for the characterization of ancient bronze objects. The unique opportunity to follow the analysis of the Donatello’s San Lorenzo Pulpit from the sampling to the ICP determinations allowed the investigation of all the possible sources of data variability. Thus, it was possible to compare the different parts of the structure and establish relations between the compositions of different samples that will be used by the conservator to complement the stylistic and historic study of the artwork.
El objetivo principal de la tesis es la evaluación de técnicas micro- y no destructivas para la caracterización material de obras de Patrimonio. Pinturas al óleo, fotografías antiguas y un objeto metálicos de gran formato se analizaron como representantes de tres importantes categorías artísticas. En el Capítulo 1 se presenta una introducción sobre los aspectos materiales y estructurales de las obras investigadas. El Capítulo 2 está dedicado a la determinación del límite de detección y reproducibilidad de Microscopia Electrónica de Rastreo (Scanning electron microscopy with Energy Dispersive X-Ray analysis, SEM-EDS), Espectroscopia de infrarrojo en transmisión (Fourier transform infrared spectroscopy, micro- FTIR) y en modalidad remota una sonda de fibras ópticas (mid infrared fiberoptics reflectance spectroscopy midIR-FORS). En el caso específico del midIR-FORS se ha demostrado la capacidad de métodos multivariantes para la modelización de los espectros obtenidos con tal técnica, y la creación de mapas de distribución de pigmentos a lo largo de la superficie de pinturas al óleo. El Capítulo 3 se centra en el estudio de la paleta usada por Pablo Ruiz Picasso durante sus primeros años de producción artística mediante el análisis no-destructivo de seis retratos conservados en el Museo Picasso de Barcelona. En el Capítulo 4 se propone un método analítico optimizado para la detección de azufre en fotografías antiguas (silver print image) mediante Fluorescencia de Rayos-X (X-Ray Fluorescence XRF) y un procedimiento para la recuperación de imágenes que manifiesten fenómenos de descoloración. Finalmente en el Capítulo 5 se presenta el estudio de la optimización de un procedimiento analítico para el análisis de muestras metálicas y aplicación a muestras reales extraídas del Pulpito de San Lorenzo de Florencia. La investigación de estas tres categorías artísticas ha demostrado la importancia de optimizar procedimientos de análisis específicos para incrementar el conocimiento de las obras teniendo en cuenta su heterogeneidad, características físico-químicas y respetando su integridad física.

SANTOS, Elis Denise Lélis. Uma leitura de mão dupla: leituras e influências na poesia de João Cabral de Melo Neto. 2008. 86f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2008.
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The goal of our work is to investigate the influences reading from the poet Joao Cabral de Melo Neto and possible overruns through the conquest of a unique style. Contextualizaremos the production of literary and intellectual author, working with the "field", "context" and "paratopia" based on readings of The rules of art (1996), Pierre Bourdieu and The context of literary work (2001), Dominique Maingueneau, respectively. Abordaremos the influences received by the poet in the literature and other fields such as visual arts, architecture, mathematics, philosophy and the different places where resided and the travel he has done. Use the categories "influence" and "overrun", systematized by the American literary critic Harold Bloom works in The anguish of influence (1991) and A map of desleitura (2003). So with the idea of overcoming, we want to examine The work Education by stone (1966) which marks the poetry of John Cabral a more mature by their experiences with the language. First, we will see the context of production in prose and verse of the author. Then mapeamos their influences, and a third time, investigate how the poet surpassed, building an individual and own poetic.
O objetivo de nosso trabalho é investigar as influências de leitura do poeta João Cabral de Melo Neto e a possível superação através da conquista de um estilo próprio. Contextualizaremos a produção literária e intelectual do autor, trabalhando com as categorias de “campo”, “contexto” e “paratopia”, com base nas leituras de As regras da arte (1996), de Pierre Bourdieu e O contexto da obra literária (2001), de Dominique Maingueneau, respectivamente. Abordaremos as influências recebidas pelo poeta na literatura e de outros campos como o das artes plásticas, da arquitetura, da matemática, da filosofia e dos diferentes lugares em que residiu e das viagens que realizou. Utilizaremos as categorias “influência” e “superação”, sistematizadas pelo crítico literário americano Harold Bloom nas obras A angústia da influência (1991) e Um mapa da desleitura (2003). Assim, com a idéia de superação, pretendemos analisar a obra A educação pela pedra (1966) que marca a poética de um João Cabral mais amadurecido por suas experiências com a linguagem. Primeiro, veremos o contexto da produção em prosa e verso do autor. Em seguida, mapearemos suas influências e, em um terceiro momento, investigaremos como o poeta as superou , construindo uma poética própria e individual.

Entre la deuxième moitié du 19e s. Et la première moitié du 20e, la figure du saltimbanque est récurrente dans l'art. Son évolution coïncide avec la transformation de la figure de l'artiste et l'entrée dans la modernité. Le saltimbanque apparaît d'abord dans la littérature romantique ; simple représentation pittoresque et manichéenne, il devient chez Musset, Hugo, Sand, une figure allérorique de l'artiste. Alter ego idéalisé chez Banville, double distance du poète chez Baudelaire ou Mallarmé, sa présence s'assortit d'une réflexion sur le sens d'une parole poétique que le poète pressent menacée. Le poète n'est d'ailleurs qu'un pitre méprisé par le public qui se livre a un art dérisoire et vénal. Ce questionnement s'amplifie avec la fin du siècle : chez les symbolistes et les décadents la récurrence du thème de la pantomime et l'engouement pour les arts populaires résonnent comme la chronique d'une mort annoncée de la littérature et des mythes. Les décadents trouvent alors dans la figure du Pierrot et dans l'imaginaire de la foire un reflet déformé et parodique de leurs propres hantises. Or, c'est ce Pierrot moribond, par l'importance qu'il accorde conjointement aux arts populaires et à l'inconscient, qui va servir de tremplin à l'émergence d'un art nouveau. Chez Apollinaire comme chez Picasso, corps et spiritualité se retrouvent unis dans la même vision messianique du poète/ saltimbanque à qui incombe la tâche -légère- de révéler au peuple la modernité du monde. La reconstruction de nouveaux mythes se réalise alors, dans un syncrétisme de fantaisie. Dès lors, l'artiste, le plasticien (Léger, Calder. . . ), poète (Mc Orlan, Prévert. . . ), dramartuge ou comédien se fait saltimbanque en reprenant à son compte les outils et la fantaisie du cirque. Ainsi, cet art vivant qui se réclame du cirque a, comme lui, partie liée avec le danger et la mort ; la création s'assimile alors à la piste circulaire en devenant un lieu de tentatives, de péril et d'exposition

This dissertation intends to study two sculptural procedures that contributed to the transition from Classicism to Modernity – Reproducibility and Construction. Therefore, a case study of the Portuguese and international artistic context is presented and analysed, from the end of the nineteenth century until the middle of the twentieth, which was designated by Modernism. Reproducibility was not a product of the twentieth century, but of a long process that led to the paradigm shift at the beginning of this century. Its impact on Artistic Teaching is observed, based on the analysis of three learning models, which opted for reproduction as the main pedagogical methodology. Reproduction of works of art, whether by teaching or by the artists' initiative, contributed to the proliferation of the sculptures themselves and, consequently, emphasized the didactic and plastic nature of reproducibility. The interest in the practice of technical reproduction, as a mean of artistic creation, began in the late nineteenth century, with Auguste Rodin, pioneer of modern sculpture. Also Pablo Picasso and Marcel Duchamp were precursors and influential during the Modernism, and the importance for their artistic productions in this investigation, is due to the fact that both of them took advantage of the reproduction of their own works, through the creation of series and editions. In the case of Constantin Brancusi, the use of reproduction was related to the way the Romanian sculptor took up the same themes throughout his artistic career. There were also sculptors that recovered themes and works of other artists, and Alberto Giacometti and Umberto Boccioni are examples of that. The construction is addressed according to a perspective that is the Picasso’s papiers collés, later called collage, the origin of the construction process. In this sense, it is argued that the collage lead to two different ways to build: one more focused on the potential of materials and meaning of objects owned by sculptors who were in charge of selecting, retrieving and re-contextualised within the art world, as was the case the assemblages, of appropriations, the ready-mades and objects Dada and Surrealist; the other, more directed to the actual construction technique, with "new" industrial materials and innovative technical processes. In short, it must be kept in mind that construction is the technical procedure that best characterizes modern sculpture, which has reached its apogee with Minimalism

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2011
Contém: 1 DVD com uma entrevista a Gil Teixeira Lopes, apenas consultável na Biblioteca da FBAUL - Cota CDA 80
This dissertation means to implicate the defense of the chemistry between Painting and Engraving. Also presenting, are some aspects of the two artistic expressions coming together, by focusing the differences and familiarities that result in the final interpretation. It also relates to the common paradox in which an engraving is not considered an art piece, and to the interdisciplinary aspect of creating art. To support the dissertation and all aspects involving the overlap between Painting and Engraving, I present my personal work, to give way for a pondering of what really is the coming together of the two artistic expressions- Painting and Engraving

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2013
Esta tese teórico-prática debruça-se sobre transformações ocorridas no campo do desenho ao longo do século XX e início do XXI, com importantes implicações para o presente desta área central da prática artística. Desde a prática bidimensional do desenho até à conquista efectiva do espaço e do tempo, estudam-se obras que se entendem como paradigmáticas nesse percurso. Num primeiro momento a tese incide sobre aspectos das obras de Pablo Picasso, Alberto Giacometti e Pierre Bonnard, que contribuíram para renovar e manter a prática bidimensional do desenho; posteriormente são centrais as contribuições de Jackson Pollock, Franz Kline e Barnett Newman para a ampliação do âmbito do desenho. Além da representação, em direcção ao espaço e ao tempo mais vastos; as obras paradigmáticas de Robert Smithson e de James Turrell, respectivamente “Spiral Jetty” e “Roden Crater”, são reveladoras da conquista efectiva para o desenho de espaço e de tempo, entendidas estas variáveis num sentido concreto. Sem esquecer a diversidade de processos do desenho, a parte prática insiste na pertinência da manutenção da bidimensionalidade dentro do campo expandido do desenho.
This teoretical and practical thesis is concerned with the transformations wich took place in the field of drawing during the past XX century and the beginning of the current century. Relating to these transformations paradigmatic works of art are studied, starting with bidimensionality towards the conquest of time and space. Important to the renovation of image in drawing, examples of the oeuvre of Pablo Picasso, Alberto Giacometti and Pierre Bonnard are considered. The works of Jackson Pollock, Franz Kline and Barnett Newman are central to the expansion of the field of drawing away from the figure towards space and time. “Spiral Jetty” and “Roden Crater”, seminal works from Robert Smithson and James Turrell, reveal true space and time as part of the new elements of drawing. Without forgetting the huge diversity of existing drawing practices, the practical side of the thesis insists on the relevance of maintaining a focus on image-making through drawing.

A Circle on Earth - Circus Drawings is based on a series of 30 drawings that explore the strength of the line, its interactions in the bare space of the sheet, inspired by the movement of aerial acrobats, in a tribute to their ballets in the air, which rouse a combination of emotions from the beholder. This work aims to establish the parallels between Drawing and aerial acrobatics, the reflection of their gestures in space, as well as the creation of lines and compositions, through scratching on physical supports, where the ephemeral movements and spatial configurations of acrobats were graphically recorded, at different intensities and rhythms, in a challenge of making them visible. The approach is consolidated in an investigation of the circus arts, its origins and contextualization, namely aerial acrobatics, in a brief historical survey, from its beginnings to the contemporary New Circus, which reinvents its traditional characteristics through experimentalism, conceiving new aesthetic proposals and concepts. Artworks from some of the most prominent artists of the XIX and XX centuries that explore the circus as a theme are analyzed, their graphic nuances revealed, proposing discussions over the possible conceptions and readings of what circus stands for.

O trabalho de projeto intitulado “Rosto como Paisagem / Paisagem como Rosto: ida e volta da linha à forma escultórica” pretende explorar a aplicação da relação que pode ser estabelecida entre as presentes noções de paisagem e de rosto - face humana – e de como se pode expressar esta relação, tanto na sua abordagem visual como na sua tradução em conhecimento. A problemática decorrente da pesquisa realizada na concretização do presente projeto é reveladora da multiplicidade e complexidade da investigação artística observando-se algumas dificuldades no plano da sua teorização. Antes de estudarmos a relação entre a linearidade e os meios escultóricos de concretização artística, foi necessária a definição da figura humana e, inerentemente, da face humana nas suas múltiplas dimensões, i. e. o rosto humano. A presente abordagem visual e escultórica consiste numa série de figuras humanas, na sua maioria restringidas ao rosto, e principalmente baseadas no conhecimento anatómico. É através da sua prática que o artista reconhece o corpo humano como único e singular mas também como recipiente através do qual a existência humana se desenvolve e leva a cabo. É também através do seu entendimento como uma via de acesso à expressão dos movimentos clássicos e contemporâneos – sendo matéria viva que se torna forma escultórica e dinâmicas do traçado – que a figura e corpo humanos se tornam o principal objecto de estudo do artista.[...] Dada a importância que encontramos na associação e relação interpretativa que naturalmente decorre da articulação com o trabalho prático, considera-se a linguagem artística como inseparável e reciprocamente ligada à pesquisa e análise aqui conduzidas. Parece-nos inviável a completa apreensão deste projeto sem que se tome em consideração a própria obra escultórica a que se refere e para a qual se remete. Por este motivo, analisamos a linha, e a linha na escultura, ao longo deste estudo. Na arte plástica – especificamente na escultura – a linha é frequentemente resultante da convergência de duas ou mais faces, o que nos leva a pressupor a presença de duas ou mais superfícies. Esta característica leva-nos a considerar que apenas o delineamento possa dar origem a uma escultura linear e que, nesta, a linha recorre à simetria, à qual acrescem cada perfil - contorno linear percebido a cada ponto de vista - que igualmente contribui para a percepção de ambas forma e figura. Assim, dentro do âmbito desta relação entre rosto e paisagem, o nosso interesse recai sobre o estudo da linha como meio de representação escultórica. O corpo de trabalho agora apresentado procura uma abordagem sintética da figura humana, no limiar perceptível da sua representação tridimensional. As esculturas apresentadas resultam da composição de linhas curvas, contínuas e contrastantes. Expandindo as noções de linha e espaço, estas esculturas oferecem-nos uma sensação semelhante à de um vislumbre de breves desenhos suspensos no ar. A linha que percebemos é gerada pelo olhar que se move sobre a forma, ao mesmo tempo que nós próprios (observadores) nos deslocamos no espaço. Ou seja, a passagem para a percepção da tridimensionalidade é operada pelo movimento, simultaneamente gerado pela linha e resultante dela.[...] Tomamos por certo que as influências e referências do artista consistem em tudo o que vê, sente, e experiencia, pelo que o principal objetivo que nos guia é tornar mais acessível o que podem ser os recursos criativos do artista, que contribuem com conhecimento e técnica para a criação artística.

The present work “Self-portrait and self-representation: variations on a theme” addresses the issue of self-representation in art through the creation of a series of drawn self-portraits. The project has an investigative character, and the drawings were developed in series from the exploration of varied techniques and materials, sometimes traditional, sometimes less conventional. The creative process focused on making selfportraits using a mirror, an indispensable item that allows us to observe our face directly. The drawings created from the reflection’s observation were transformed throughout the development process of the series, enabling the discovery of new representational forms that deviate from the mimetic reproduction of the mirror image. The way the face was represented went through major changes throughout the development of the self-portraits. The use of chance in the creation of accidental stains contributed to a more freely and subjective graphic registration, avoiding the more objective figurative representation of the face. From experiences with various tools and techniques, it was possible to find new answers that increased the exploration of structural elements of the drawing’s graphic language with stains, strokes, textures or color. The project presents a theoretical research related to the theme in question, and a practical part that reports the experiments performed during the development of the work, as well as the results obtained from the artistic research. The first two parts focus on the study of the emergence of self-portrait in art history; the concept of self-representation, especially in modern and contemporary art; in the theoretical study concerning the creation of serial drawings; and in approaching the issue of variation of the same theme in artistic practice. The third and last part focuses on the practical work, ie the process of creating the self-portraits.

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2016
O tema da tese de doutoramento, constituiu o estudo da colagem no contexto da arte contemporânea nacional, focado em alguns artistas de referência, durante a segunda metade do séc. XX. Importa sublinhar o processo de colagem, como um importante veículo da linguagem do desenho e não como um mero suporte de trabalho, complementar ao desenho e (ou) à pintura. Esperamos acima de tudo, contribuir para um melhor conhecimento da evolução dos processos de colagem, inserido nos vários movimentos artísticos vigentes e em particular a partir do Surrealismo. Sendo a colagem, parte intregrante do desenho, constituiu um procedimento artístico em que se compoêm pedaços de papel liso, estampado, pintado ou impresso (jornais, revistas), embalagens, cartão, tecido ou pequenos objectos sobre um suporte geralmente plano. A colagem constituiu no ínicio do séc. XX, um importante veículo de expressão no seio dos grandes círculos artísticos europeus, centrado especialmente na cidade de Paris. Por isso, é essencial, antes de entrarmos no tema da tese, salientar o pioneirismo de Pablo Picasso e George Braque na criação dos primeiros Papiers Collés. Na esfera nacional é imprescindível salientar o papel de Amadeo de Souza-Cardoso, como artista de referência no panorama português, no que concerne à introdução das primeiras colagens no movimento cubista. No desenvolvimento da tese, importa focar o estudo da colagem na segunda metade do séc. XX, a partir do movimento surrealista português, dos seus principais intervenientes e das obras mais relevantes para a evolução do desenho e da colagem. Neste período, importa referenciar a importância do grupo KWY no contexto da arte contemporânea nacional e do impulso que alguns dos seus membros introduziram no desenvolvimento da colagem. Definimos como case study de estudo, um artista de referência nacional (Artur Manuel Rodrigues do Cruzeiro Seixas), cuja obra, (particularmente no domínio no desenho e da colagem), seja marcante no contexto da arte contemporânea nacional. Ao estudarmos a sua longa carreira, principalmente ao nível do desenho, retemos um amplo conjunto de ideias e de obras inéditas reveladas a partir dos seus scrapbooks. Sendo a análise desta informação ainda muito escassa, mesmo por parte da FCM, torna-se imperativo um estudo mais aprofundado acerca deste tema e mais concretamente dos registos ao nível do desenho e colagem.
The main objective of the Phd project is to focus the whole study of collage as an essential element of artistic expression. Its also important to clarify that collage its not just an artistic work tool for drawing or paint, but an important comunication support and to focus on the introduction of collage in contemporary Portuguese art and all its evolution over the second half of the twentieth century. Contribute to the study of the history of portuguese contemporary art, focusing the study on the theme of collage in Portugal, alongside the drawing. However, as collage is considered being part of drawing, is an artistic procedure (completely apart) in putting together pieces of plain paper, stamped, painted or printed (newspapers, packaging), cardboard, cloth or small objects on a plan support. Since the beginning of the twentieth century, collage was an important vehicle of expression in the European vanguard movements. Before entering the theme it self its important to study the pioneering role of Picasso and Braque in the early twentieth century and the environment in portuguese artistic context, highlighting the role of Amadeo de Souza-Cardoso, with reference to the introduction of the Cubist collages movement in Portugal and it´s transition to painting. After the introductory chapter, it´s important to focus the study of collage in the second half of the twentieth century, beginning with the birth of the portuguese Surrealist movement, their main artists and the more significant works for the evolution of portuguese contemporary collage, either by it´s pioneering in the materials and techniques used, or by it´s conceptual composition. To assess and substantiate this study, it is important to make a brief overview on the international references. Make a case study of collage to a main portuguese artist (Artur Rodrigues do Cruzeiro Seixas), which has been distinguished by the use of collage techniques in an exceptional way. By analyzing and studying his long artistic career in drawing and collage, we retain several ideas, artistic concepts and new information about his work, which proved to be particularly relevant in the whole collage movement and in Portuguese contemporary art. Set as case study by investigating the develop of collage by a national reference artist (Master Cruzeiro Seixas), which has been distinguished by the use of collage techniques in designing exceptional way. By analyzing and studying his long artistic career by drawing and collage level, we retain a set important ideas and artistic concepts reflected by the revelation of a set of unpublished works from his scrapbooks, which proved to be particularly relevant in his work and in the Portugal contemporary art.

The central subject of this work is how the drawing can be fundamental and crucial as a tool for product and service development in design. The work starts with a historical analysis of the drawing theory to achieve a clear view of how sketch and drawing can stimulate creativity. This work passes through three stages. First, a historical review where is investigated the drawing as a project aid; the unique value of him; and also the differences and resemblances between sketch and drawing. Secondly, the contemporary utility given to him in the design world, where the concept of design is defined; the way drawing entered in the fine arts landscape; and the primordial functions of the drawing in the creative process used by the designer to create. Third, the elaboration of a graphic exploitation of three objects, that puts in practice some of the investigated theoretical questions, such as the use of the sketch in the first phase of a project – Discovery – when the record is as ambiguous as the own concept; and the achievement of the total definition of a project only using drawing. Based on the theoretical investigation and in the practical exploration is possible to claim that the sketch helps to define the problematic of the issues proposed to the designer and that the drawing defines the solution. In other words, the drawing provides the discovery of new forms and meanings that can result in an innovative object. The practical project revealed the possibility of drawing and sketching the same three objects with countless approaches with only one starting point. The movement and gesture were the fundamental elements to make that happen. It can confirm that the drawing benefits from a personal language, expressed by point and line. The necessary information used to the elaboration of this investigation can be found in the bibliographical list at the end of the work. All the information was analyzed and filtered to guaranteed the veracity of the work.