Rozprawy doktorskie na temat „1950s Illustration”

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

Dès l’apparition du Pop art autour de 1962, l’iconographie de l’illustration et de la publicité indique l’émergence d’une véritable esthétique graphique. La rencontre du Pop art et du dessin se révèle particulièrement intéressante car suivre les productions réalisées dans cette discipline éminemment manuelle permet de réexaminer les différentes positions des artistes vis-à-vis de la culture de masse et d’aborder des questions tant matérielles qu’iconographiques. Partant du constat que les formations artistiques sont à l’origine du va-et-vient entre options manuelles et mécaniques dans l’économie du Pop art, le propos débute par l’examen des conditions d’émergence du dessin. L’examen des relations entre dessin et culture de masse ne saurait être complet sans évoquer la réponse d’artistes qui s’engagent dans la recherche d’un dialogue avec un public croissant (par des stratégies de classe, l’iconographie de logos de produits, la prise en compte des possibilités de l’estampe etc.). Non seulement l’œuvre naît du parcours de la main, mais le dessin pop dépasse le seul processus créateur pour exister dans un corpus d’œuvres autonomes, qui s’écarte de tout schéma finaliste. Cette présence souligne ce que peuvent avoir de critique l’image et l’action du corps. De même que Claes Oldenburg et David Hockney opposent une tension manuelle aux expressions mécanisées dans la société – et là réside le double sens de la notion d’engagement autant physique que politique dans le dessin pop –, le réinvestissement du corps sous la forme du portrait et du nu affirme sa solidarité avec les combats pour la libération sexuelle à l’aube des années soixante-dix
By 1962 with the beginning of Pop art, the iconography of illustration and advertising points the development of an art founded on graphics. Interestingly, the relations between Pop art and drawing allow to follow how the handmade practices reassess the artists’ positions towards mass culture and deal with material issues (such as manual involvement) and the meaning of iconography (counter-culture, return of the figure). Starting from the point that artistic pop economy of art owes its back and forth mouvement between manual and mechanical options to its protagonists’ artistic education, this dissertation opens with the study of drawing’s emergence in a pedagogical context. The study of the relations between drawing and mass culture wouldn’t be fully led without assessing the answer of the artists who involve in the claim for a bigger audience (with a class strategy, an iconography full of mass products and the possibilities of prints). Moreover, not only the graphic works stem from the hand, but pop drawing overwhelms the solely issue of creation processes to exist in an autonomous corpus of works, which doesn’t fall into the finalist schema. This presence points how critical may be the body, through drawing, as an image and as an action. Similary to Claes Oldenburg and David Hockney who oppose a manual tension to the social mechanized expressions – and there lay the double sense of the very notion of involvement which is to be understood in Pop art in the same time on a physical and a political level – the reinvolvement of the body by way of portrait or nude shows its solidarity with the fights in the wake of the sixties, fight for sexual liberation, or women rights

En juin 1996, le général Lebed se classait troisième au premier tour des présidentielles qui devaient voir la réélection de Boris Eltsine. Après une courte période au sommet de l'Etat russe, Alexandre Lebed allait s'engager dans une nouvelle stratégie de conquête du pouvoir fédéral impliquant d'abord un passage par le pouvoir régional. Après son élection dans le Territoire de Krasnoïarsk, le général compte sur les richesses naturelles de la région pour s'offrir une campagne présidentielle efficace. Mais cette opulence de moyens s'avère être un enjeu considérable qui implique de puissants acteurs. Dans ce combat inégal, Alexandre Lebed est confronté aux luttes sans merci que se livrent les puissants groupes des oligarques. Incapable de s'emparer des leviers du pouvoir économique, le gouverneur Lebed doit, en outre, faire face à un populisme régional exacerbé. Constamment en guerre dans le grand jeu de la redistribution des propriétés, Alexandre Lebed disparaît prématurément en avril 2002
In June 1996, Gen. Lebed came third in the first ballot of the presidential elections that were going to lead to Boris Yeltsin's re-election. After a short period at the summit of the Russian power, Alexander Lebed became involved in a new political battle which was meant to open the Kremlin's gates to him after he first won regional political power. After Lebed's election in the Krasnoyarsk Territory, the great wealth of the region, which is the source of financial means for his future campaign for the presidency, over which people from the field of politics as well as economics were soon competing. In this struggle where everyone tried to take the lion's share, Alexander Lebed found himself in the middle of merciless wars between powerful groups run by oligarchs. Unable to seize the levers of economic power, Governor Lebed had, moreover, to face the challenge of regional nationalism. Regularly on a war footing because of property redistribution, Alexander Lebed died in April 2002

La ricerca ricostruisce la complessa e multiforme personalità artistica di Lodovico Pogliaghi - pittore, scultore, ornatista, illustratore attivo tra la fine dell’Ottocento e la prima metà del secolo successivo - inserendola all’interno dello scenario internazionale. Muovendo dall’attività di illustratore sono emersi i rapporti dell’artista, oltre che con la tradizione e la pittura di storia, con la fotografia, la cartellonistica e il cinema delle origini, in un fitto dialogo tra cultura ‘alta’ e nuove istanze della comunicazione in funzione del pubblico di massa.
The research reconstructs in the international historical and critical frame the complex and wide artistic personality of Lodovico Pogliaghi - painter, sculptor, decorator, illustrator active from the end of nineteenth to the mid-twentieth century. His illustrations reveal artist’s relationships to tradition, history painting, photograph, poster art and silent cinema in a continuous dialogue between high culture and innovative request of visual communication.

La ricerca ricostruisce la complessa e multiforme personalità artistica di Lodovico Pogliaghi - pittore, scultore, ornatista, illustratore attivo tra la fine dell’Ottocento e la prima metà del secolo successivo - inserendola all’interno dello scenario internazionale. Muovendo dall’attività di illustratore sono emersi i rapporti dell’artista, oltre che con la tradizione e la pittura di storia, con la fotografia, la cartellonistica e il cinema delle origini, in un fitto dialogo tra cultura ‘alta’ e nuove istanze della comunicazione in funzione del pubblico di massa.
The research reconstructs in the international historical and critical frame the complex and wide artistic personality of Lodovico Pogliaghi - painter, sculptor, decorator, illustrator active from the end of nineteenth to the mid-twentieth century. His illustrations reveal artist’s relationships to tradition, history painting, photograph, poster art and silent cinema in a continuous dialogue between high culture and innovative request of visual communication.

Ce travail propose une recherche sur l’application de la sémiologie/tique comme enjeu stratégique pour l’entreprise et au profit de l’émergence des identités de marques. En confrontant les points de vue de la littérature scientifique, de 1950 à l’an 2000 en France, et nos entretiens menés auprès des professionnels possédant une formation ou une culture sémiotique, nous dessinons un « parcours » retraçant la vie du couple sémiologie et entreprise. Par cette application, les marques y racontent une histoire, elles se racontent : aujourd’hui dans le contexte des fusions économiques et de la mondialisation, l’identité est fragile. De cette inquiétude d’identités, la nécessité d’établir des significations partagées suppose l’implication de la sémiologie dans l’entreprise pour lui créer son histoire, ses pratiques et son actualité. Les marques cherchent à ancrer leur autorité ; elles veulent exister pour différents publics, une sorte de « reconnaissance mutuelle » nécessaire pour s’affirmer ; elles imposent enfin ses perceptions de la société dans laquelle elles s’inscrivent, à travers un discours culturel et social. Ce travail s’inscrit dans une démarche de la construction du sens et de la narration. Il s’appuie sur l’étude de deux cas de marque et méga-marque - Wanadoo (France Télécom) et TF1 (LCI), à travers trois types de sémiologie : le logotype comme support de communication fixe, la page d’accueil de portail internet comme support arborescent et l’habillage télévisuel comme support animé. Ces trois systèmes de signification déploient des espaces langagiers propres à l’identité de la marque.

Fleuron du photojournalisme américain du XXe siècle qui connaît son apogée pendant les années 1950, le magazine Life jouit d'une aura prestigieuse qui en fait une entité iconique de la presse périodique illustrée et de la culture américaine du XXe siècle. Classiquement convoqué dans la littérature en sa qualité de parangon d'un genre de presse modélisant des pratiques éditoriales, Life endosse également jouer un rôle de « mémoire visuelle » de la société américaine du XXe siècle. La présente thèse intègre ce statut emblématique de Life, à la croisée de deux champs d'investigations distincts que sont les études américaines et l'histoire de la presse, autour de trois grands axes : historiographie, pratiques éditoriales et iconographie du magazine. Ceci, afin d'identifier et d'analyser les principaux enjeux impliqués dans le projet « d'histoire culturelle » que nous défendons dans notre analyse du contenu éditorial du magazine. Ce projet, né d'une certaine insatisfaction face à une critique idéologique qui analyse le contenu éditorial de Life dans son seul contexte politique, se traduit par la volonté de mettre en œuvre une méthodologie qui se propose de revisiter les pratiques intellectuelles élaborées par Life autour de la photographie. En concevant la réflexion autour des fonctions heuristiques, narratives et cognitives des images photographiques — assorties de leur mise en récit à travers des essais photographiques fondés sur une relation iconotextuelle qui met le texte au service de la narration visuelle — l'objectif de cette thèse est de faire la lumière sur le contenu éditorial d'un magazine qui semble paradoxalement mal connu, au regard de son statut iconique
As a leading 20 Century American photojournalism magazine, Life benefits from a prestigious aura turning it into an iconic entity — in press history, scholars usually refer to Life as a paragon of picture magazine when in the meantime Life plays a part in collective history as a Visual record of 20th Century American society -. The first part of this doctoral dissertation dedicated to examining the historiography of Life, explores the emblematic status held by Life, both on the academic field of press history and American studies. As a mainstream culture artifact, and under the impulsion of the counterculture of the 1960s, Life has largely been criticized for being a conservative media. Due to a dissatisfaction with the ideological critique towards Life — which often reduces the study of its editorial content to political issues — the second part of this work focuses on Life's editorial practices, so as to understand how its news content serves the establishment of a Visual culture, rather than offers a sole political statement. These first two parts are preliminary to the main purpose of this doctoral dissertation, which is to identify and analyze the main stakes that are raised when considering Life as a cultural artifact. Thus, the scope of the third part is to investigate Life's use of photography as means to celebrate and evaluate the cultural references the magazine highlights. The corpus of this investigation is a series of case studies, based on a selection of photo-essays published in Life during the early 1950s, when the magazine reached its golden age, so as to revisit this overrated area

Cette thèse a pour ambition de comprendre et d’expliquer l’illustration littéraire, une pratique artistique majeure de l’entre-deux-guerres français. Les carrières et les publications de trois acteurs de l’édition illustrée de cette période, Daniel Henry Kahnweiler, Jean-Gabriel Daragnès et Clément Serveau, font d’abord l’objet d’une étude détaillée menant à un premier niveau d’explication des corpus considérés, exprimée à ce stade en termes de personnalité et de contexte. Une approche socio-esthétique de l’activité dans son ensemble est ensuite développée sur la base des théories de Pierre Bourdieu. Les structures, pendant l’entre-deux-guerres, des champs de l’illustration, de l’art et de la littérature sont décrites. Un modèle, à la fois conceptuel et expérimental, de l’illustration littéraire est proposé. Cet outil, à même de rendre compte des caractéristiques des œuvres et du parcours de leurs auteurs, est utilisé pour revisiter l’interprétation des trois corpus éditoriaux étudiés
The purpose of this thesis is to understand and explain the literary illustration, a major artistic practice in France between the world wars. The careers and the publications of three actors of the illustrated edition in that period, Daniel Henry Kahnweiler, Jean-Gabriel Daragnès and Clément Serveau, are first closely examined in order to offer a first level of explanation of these bodies of works, viewed at this stage through the lenses of personality and context. A socio-aesthetic analysis of this activity as a whole is then developed, based on the theories of Pierre Bourdieu. The structures, during the period between the wars, of the fields of illustration, art and literature are described. A model, both conceptual and experimental, of the literary illustration is proposed. This tool, able to explain the characteristics of the works and the careers of the illustrators, is used to revisit the interpretation of the three studied corpora

L’absence du dessin des histoires de l’art des années 1950-1960 interroge, alors même que des signes de reconnaissance de la part d’artistes comme Rauschenberg, Hesse, Tinguely,Twombly, Beuys, ou Lebel et d’autres acteurs ont pu être observés.Le dessin doit être défini à partir de ses opérations et compris dans sa relation aux autres médiums. Il est donc considéré comme pratique. En mettant en oeuvre une histoire matérielle, culturelle et sociale de l’art, qui s’appuie sur les dessins eux-mêmes, des documents d’archive et des entretiens avec des acteurs de la période, il s’agit de saisir les relations qui font vivre le dessin.Il s’agit d’appréhender la reconnaissance du dessin et sa redéfinition, entre les interrogations des artistes, les évolutions des critiques et les projets des galeristes et commissaires d’exposition pour montrer comment le dessin se comprend comme une réalité complexe, en acte. Le dessin se redéfinit également comme un moyen de manipuler des images qui deviennent pléthoriques. L’histoire de la psychiatrie confère à la pratique du dessin une valeur expérimentale rarement égalée dans l’histoire de l’art. Cette pratique expérimentale découle de son association à la pensée et met au jour une continuité insoupçonnée dans la période. Qu’il s’agisse d’en renforcer l’assimilation à une « origine de l’art », d’en faire la matrice d’un regard et d’une méthode artistique plus générale, ou le lieu marginal d’une expérience spécifique, la pratique du dessin se comprend dans un éventail large de ses réalités
Drawing is hardly studied in works of art history focusing on the 1950s and 1960s. This fact is all the more surprising that many artists, such as Rauschenberg, Hesse, Tinguely, Twombly, Michaux or Lebel, but also critics, gallerists and curators took notice of the medium at that time.Drawing must be defined according to its operations and analyzed in its relationshipwith other media. It is approached as a practice. This project is based on a material, culturaland social understanding of art history, it relies on the study of drawings, but also on archive documents and interviews with major figures of the period. From the working process of artists, to the changing discourses of critics and therenewed interest of curators and gallerists, drawing is redefined as a complex object. It allows artists to deal with the flow of images that characterizes the 1950s and 1960s. It also takes on an experimental quality because of its association to the thought process. Psychiatrists andartists have used the practice of drawing to better understand the mind. Whether it is used as an origin of art or as a marginal space implying specific experiences, drawing in the 1950sand 1960s is multi-faceted and is studied as such

CAPES
No presente trabalho serão analisadas representações de feminilidades em dois periódicos distintos: as Melindrosas na revista Para Todos... e a coluna Garotas na revista O Cruzeiro. Os recortes compreendem os anos de 1922 a 1930 para as Melindrosas e de 1938 a 1946 para as Garotas, privilegiando uma sequência entre décadas subsequentes, de modo a entender como as representações de feminilidades se modificaram ou se mantiveram. Interessa também investigar de que maneira o humor e a visualidade contribuíram para normatizar papéis e relações entre gênero, em conjunto com políticas públicas. As revistas visavam trazer a identificação com discursos hierarquizantes, atuando como pedagogia de gênero. Contudo, percebe-se que o humor buscou, nas fissuras das representações, a dupla moral, na qual as mulheres negociavam espaços de atuação e liberdade. Tanto Melindrosas quanto Garotas possuíam táticas de convencimento e de sedução que as levaram a realizar desejos e a conquistar alguns de seus objetivos. Elas questionaram e enfatizaram as contradições e tensões das respectivas décadas. Por vezes, indicavam pretextos para pensar nas mudanças sociais, de comportamentos e no modo como os homens se colocavam neste quadro.
In the present work femininity representations will be analyzed in two separate journals: the Flappers in the magazine Para Todos... and the Garotas column in the magazine O Cruzeiro. The cuts include the period from 1922 to 1930 for the Flappers and 1938-1946 for Garotas, favoring to a sequence of subsequent decades, in order to understand how representations of femininity have changed or remained. We also want to investigate how the mood and visuality contributed to standardize roles and relationships between gender, together with public policy. Magazines aimed to bring identification with hierarchized speeches, acting as gender pedagogy. However, we notice that humor sought in the fissures of the representations, the double standard, in which women were negotiated spaces of action and freedom. Both the Flappers and the Garotas used tactics to convince and seduction that led them to grant wishes and achieve some of their goals. They questioned and emphasized the contradictions and tensions of their respective decades. Sometimes indicated pretexts to think about the social changes of behavior and how men were placed in this board.

This thesis paper reflects upon the costume design process taken by Emma Hollows to produce a realist production of the Junction Avenue Theatre Company’s musical Sophiatown at the Augusta Savage Gallery at the University of Massachusetts in May 2020. Sophiatown follows a household forcibly removed from their homes by the Native Resettlement Act of 1954 amid apartheid in South Africa. The paper discusses her attempts as a costume designer to strike a balance between replicating history and making artistic changes for theatre, while always striving to create believable characters.

碩士
國立雲林科技大學
視覺傳達設計系碩士班
92
The man shaft of this study is “Documents Investigation Method”, supplemented by the interviews on the experts and the style analysis of the illustration, the content consists of illustration in Chinese Literature textbooks of first and second grades of Elementary Schools published between 1950 and 2001, while the objectives of the study being: 1. Discussing the historical significance of the content reflected by the illustrations. 2. Analyzing expression features of these illustrations for special literature forms in various stages. 3. Generalizing the evolution process of the illustration styles. The outcomes of the research are stated as follows: A. Historical significance reflected by the content of the illustrations: from the theme presented by the illustrations during the versions between 1950 and the 1968, the theme “Medical Health Care” back then reflected the content of the governmental propaganda of disease prevention and personal hygiene. Moreover, the theme of “Patriotic Spirit” was under tremendous influence of the political situation when Taiwan was first restored from Japanese colonial rule, and the government was eager to inspire the patriotic spirit and thinking in children by means of the content and illustrations in the textbooks. The settings for the illustrations were also transformed from natural environment to modern urban environment and from traditional single-stored houses to skyscrapers; among them we only find the settings of rural villages appearing in the early editions. The transformation of farm tool images in the illustrations from original human and animal labor, gradually to mechanical equipments nowadays, reflects the developing process of agricultural mechanization in Taiwan. Furthermore, the analysis of “characters’ costumes” in the illustrations indicates that the dressing of characters evolved from “traditional Chinese costumes” gradually to “modern costumes”. The costume of teacher characters in the illustration evolved from cheongsam to modern customs, the transformation of which precisely corresponds to the development of modern fashion trend in Taiwan, and thus serves as one of the records of dressing developing track in Taiwan. The costumes of student characters in the illustrations transformed from “traditional Chinese uniforms” gradually to casual clothes, which reflects the transformation of students’ dressing culture with the promotion of different educational policies and epoch progress. B. The transformation of illustration style: through the analysis of the illustration styles, we found the same characteristics among versions of different stages, such as the expression medium has always been water-paint; and the skill adopted to depict motions has always been “freezing the actions”, with very few other animation skills implicated; the shootings demonstrates were largely “independent shootings”. In the study, the evolution of the illustration style is divided into three stages: the early stage of versions between 1950 and 1966, the middle stage of versions between 1968 to 1983, and the later stage of version between 1994 and 2001. Listed below are the evolution process of the illustration styles: 1. The transformation of “styles”: the style of versions in early and middle stages were more realistic, while versions in later stage were centralized mostly on expression of conceptualization and patternization. 2. The transformation of “animal behaviors”: in versions of early and middle stages, the illustrators expressed the behavior features of animals through realistic styles, while in the versions of later stage, they concentrated mostly on the skill of “personification”. 3. The expression skill of “contour-lines”: from the versions in early stage in 1950 and 1957, the width of the contour-lines shown in one illustration remained the same; in middle stage, the contour-lines demonstrated were characteristic of calligraphy strokes; while the contour-lines depicted by illustrators in later stage were gradually diversified. 4. The expression of “texture”: except for in the version of 1968, illustrators in each stage only represented the texture of articles with color application. 5. The expression of “color tones”: in the version in 1950, as the printing skill then was limited to black-and-white, we cannot see much altercation of color-tones. In the version of 1957, more pure color-tone expression has emerged. In the version of 1966, the color tone was characteristic of high color-degree and medium transparency degrees, therefore the effects produced were bright colors and rich color-tones. In the version between 1968 and 1978, the color tone was characteristic of medium color-degree and medium transparency degree, with the touch of primitive simplicity image. From 1983 to 2001, the color tone expressed was returned again to high color-degree and medium transparency.

Illustration of Czech popular music sheet covers in the first half of the 20th century Abstract This diploma thesis focuses on the visual form of popular music sheet covers published in selected publishers in the first half of the 20th century, especially on small formats of the twenties to forties. Many Czech as well as several foreign artists influenced by various artistic tendencies took part in the artistic processing of the covers. The creation of a large part of them is closely connected with illustration, poster creation and advertising activities. Some artists have been creating covers systematically and we can find their work in several publishers, but for some this activity was only a short episode in their work. The resulting prints of music sheet covers obtained in the institutions that collect them are documented and evaluated here - especially the Music Department of the National Library and the Czech Museum of Music belonging to the National Museum in Prague. In some cases, this section also records the original illustrations stored in the Museum of Applied Arts in Prague, which were very helpful in identifying the artistic practices. It is clear from this diploma thesis that the illustrations of these sheet music, which have not been given space in the literature so far, are an important...