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Artykuły w czasopismach na temat "Art chinois – France – 1800-"
Vadelorge, Loïc. "European Museums in the Twentieth Century". Contemporary European History 10, nr 2 (lipiec 2001): 307–16. http://dx.doi.org/10.1017/s0960777301002077.
Pełny tekst źródłaStanford, Charlotte A. "Andrew Brown and Jan Dumolyn, eds., Medieval Urban Culture. Studies in European Urban History 43 (1100–1800). Turnhout: Brepols, 2017, 213 pp, ill." Mediaevistik 31, nr 1 (1.01.2018): 242. http://dx.doi.org/10.3726/med012018_242.
Pełny tekst źródłaOudot, Eléa, Kawtar Gholmane, Damien Ali Hamada Fakra i Riad Benelmir. "Energetic Valorization of the Innovative Building Envelope: An Overview of Electric Production System Optimization". Sustainability 16, nr 6 (11.03.2024): 2305. http://dx.doi.org/10.3390/su16062305.
Pełny tekst źródłaKreklau, Claudia. "When “Germany” became the new “France”? Royal Dining at the Bavarian Court of Maximilian II and the Political Gastronomy of Johann Rottenhöfer in Transnational European Perspective, 1830–1870". International Review of Social Research 7, nr 1 (24.05.2017): 46–56. http://dx.doi.org/10.1515/irsr-2017-0006.
Pełny tekst źródłaNechesnyi, Ihor. "Etienne Ozi – «a great bassonist of incredible talent»". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 68, nr 68 (28.11.2023): 33–53. http://dx.doi.org/10.34064/khnum1-68.02.
Pełny tekst źródłaHartkamp, Arthur, i Beatrijs Brenninkmeyer-De Rooij. "Oranje's erfgoed in het Mauritshuis". Oud Holland - Quarterly for Dutch Art History 102, nr 3 (1988): 181–232. http://dx.doi.org/10.1163/187501788x00401.
Pełny tekst źródłaZiemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia". Porta Aurea, nr 19 (22.12.2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
Pełny tekst źródłaHsiao-Hwei, Yu. "Chine, le corps partout ? ; Conçu en Chine, fabriqué en France ; Le Moine et le démon : art contemporain chinois". Critique d’art, nr 24 (1.09.2004). http://dx.doi.org/10.4000/critiquedart.1694.
Pełny tekst źródłaGarcia, Danielle. "Never Black and White: Representing Black Women in Revolutionary France". UF Journal of Undergraduate Research 20, nr 3 (2.05.2019). http://dx.doi.org/10.32473/ufjur.v20i3.106255.
Pełny tekst źródłaRozhnov, Mykhailo, Dmytro Melnyk i Ovsiy Levbarg. "Measurement Standards of Ukraine for Gas Volume Flow Rate at Pressures of 1 MPa to 5 MPa". Measurements infrastructure 2 (24.07.2021). http://dx.doi.org/10.33955/v2(2021)-008.
Pełny tekst źródłaRozprawy doktorskie na temat "Art chinois – France – 1800-"
Feng, Jingyuan. "La présence de la Chine aux Expositions universelles françaises de 1855 à 1937". Electronic Thesis or Diss., Sorbonne université, 2021. http://www.theses.fr/2021SORUL089.
Pełny tekst źródłaIn their heyday, the World’s fairs, landmarks of the processes of globalization and modernization, did not lack a Chinese participation of multiform and multi-level in the main organizing country, France. The study of the Chinese presence follows chronologically these great events held in Paris, case by case, for nearly a century. The representations treated evolved with time, according to the international context, the Franco-Chinese relationship and the political regime. The question of clarifying the facts and specifying the limits of the place of this country in the French World’s fairs is the origin of the present study. At the end of the dynasty, imperial maritime customs under the direction of foreigners strongly influenced the organizational procedures. Witnessing the mutation of economic life, national pavilions in Paris revealed both the imbalance of the geographical distribution of trade and the disparity of the industrial structure in this country. At the same time, cultural and artistic events presented a continuity that survived the changes. Moreover, the analysis of these participations allows us to examine the possible capacity to present itself on the international scene, as well as to evaluate the first efforts of Chinese industrialization. This thesis aims to draw up an assessment of Chinese participations in France, in order to contribute to one aspect of the history of exhibitions in modern China
Julien, Marie-Pierre. "Les meubles laqués chinois made in France". Paris 5, 2002. http://www.theses.fr/2002PA05H021.
Pełny tekst źródłaThis thesis focuses on the anthropological analysis of the interactions between Chinese and French lacquerers, amateurs (mainly French) on the one hand and Chinese lacquered furniture on the other hand. Those relations, embedded in a system of actions on the action of others (in this case, the provision system of furniture manufactered in France), involve, on the one hand, the existence of a type of object on the market, and on the other hand, the construction of Chinese immigrants as lacquerers, of French buyers as amateurs, of French apprentices as craftsmen
Delerins, Richard. "Le goût des saveurs : art culinaire et philosophie à l'âge classique". Paris 1, 2011. http://www.theses.fr/2011PA010667.
Pełny tekst źródłaGodefroot, Élodie. "L'exil des artistes chinois en France à partir de 1989 : la représentation du corps". Paris 8, 2009. http://www.theses.fr/2009PA083070.
Pełny tekst źródła1989 mark a watershed in the history of Chinese art. Since "Les Magiciens de la Terre" first exposure of Fei Dawei which presented for the first time at the Western public of Chinese contemporary works and especially since the events of the Place Tien An Men, the Chinese contemporary art took a dominating place on the international scene to become omnipresent. Today, no biennial or international artistic event is conceived without works, installations or performances of Chinese artists. XXIe century is obviousness: the Chinese contemporary art makes sell. But not any subject. Between the "chinoiseries" appraisals by the Westerners and works which do nothing but take again the traditional tradition without renewal of the techniques and the topics, are interesting on the topic of the man, innovating, significant creations, often provocative but always in close relation with the Chinese company in full change. The Chinese contemporary art has this of private individual who it is closely related to the individual and collective memory of people which underwent an important change since the death of Mao Tse Toung. The Chinese artists exiled in France have this of private individual whom they deliver an astonishing vision of the man and his place in the contemporary company. It is not a question only of the Chinese man but of the very short man. Creating a true esthetics of displacement, they question the statute of the artist through often violent and dark disconcerting works. In a company in full transformation, between passed and present, memory and lapse of memory, the question of the identity is a true way of cross for these artists in search of Ego and Other. Because what to be Chinese today? Or is it I? To go to is the meeting of the Other to go to the meeting of oneself? Is the exile the means of being or contrary to losing itself? Who am I? These existential questions become extensive in glance of the exile, "displacement"
TAILLARD, CHRISTIAN. "Victor louis 1731-1800". Paris 4, 1991. http://www.theses.fr/1991PA040207.
Pełny tekst źródłaThis research is based on the study of any buildings still extant, of archives, original plans and figured documents, which allow us to understand louis motivations, his creative methods, and original state of the works. With this we have been able to trace the architect's biography and to carry out the technical and artistical analysis of his works. Louis's career was very prolific until the french revolution, but was later virtually suspended. His creations enable us to apprehend an artistic temperament rather than to define a style. Rejected by the academy architects because of his ties with marechal de richelieu and the duc d'orleans, he was called upon by private clients who he satisfied with versatility. Champion of the "greek fashion" in decoration strongly influenced by palladio, michelangelom vignola, bernini and piranesi, he astered the french master masons tradition, while skilfully employing techniques foreshadowing the 19th century
Giraud-Labalte, Claire. "Les Angevins et leurs monuments : 1800-1840". Lyon 2, 1994. http://www.theses.fr/1994LYO20046.
Pełny tekst źródłaThis study deals with the emergence of the concept of the historic monument between 1800 and 1840 in the department of maine et loire. The relationships between the angevins and their monuments, from the end of the revolution to the official creation of a department of historic monuments, are analyzed through the opinions of contemporary personalities (sholars, local or foreign artists) and the actions undertaken (demolition, new uses, rehabilitation). The way the angevins responded to the government's initiatives as far as monuments were concerned, the commitment of antiquaries, and the architectural interventions are the main indicators of the slow evolution of their awareness of their local heritage. In 1840 the department of maine et loire seems to be among the most interested in the recognition and the conservation of their monuments
Costa, Sandra. "Des ateliers au musée : histoire du classicisme bolonais en France (1648-1816)". Paris 1, 1990. http://www.theses.fr/1990PA010582.
Pełny tekst źródłaZmelty, Nicholas-Henri. "L'affiche illustrée en France (1889-1905) : naissance d'un genre ?" Amiens, 2010. http://www.theses.fr/2010AMIE0007.
Pełny tekst źródłaLiang, Wei. "Zaji ou les arts acrobatiques chinois : un voyage entre Chine et France". Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30020.
Pełny tekst źródłaZaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly outlines the perspectives of Sino-French artistic collaboration in circus in the twenty-first century, observes the contribution of Chinese acrobats on the contemporary scene and the influences of the Western live show on contemporary Chinese acrobatics, to finally questions the future of Chinese acrobatics by applying the results of this documentary trip between two cultures, to open the conclusion of this thesis: a French-Chinese circus and acrobatic festival will be organized by the author to explore the artistic and innovating future of Zazi
Gaulard, Bénédicte. "Création artistique et réforme catholique en Franche-Comté (1571-1654) : "connaitre invisible par les choses visibles"". Dijon, 1999. http://www.theses.fr/1999DIJOL009.
Pełny tekst źródłaThe catholic reform aroused many artistic representations in Franche-Comté, land of fidelity at the catholic faifth. The articulation between artistic creation and devotions is studied in this thesis divided in five parts from the publication of the decrees of the Council of Trente in 1571 to the deadth of Claude d'Achey in 1654. In a first time, the autor emphasizes the specificity of Franche-Comté 's society which is sacred. The question of pictures, embellishment of churchs and houses is then tackled, and the importance of the Franche-Comté like an vital artistic center during the XVIIe century. The autor analyses the phenomenon of the artists 's dynasties, these activities for corporations, municipalities, clergy and governors of Besançon. The connections between devotions and iconography are studied trought representations of the blesses virgin mary, the saints, worship of relics and christian piety
Książki na temat "Art chinois – France – 1800-"
Lee, Chao Ying. Visions de l'empire du milieu du 18ème siècle en France: Illustrations des Mémoires concernant les Chinois (1776-1791). Louvain-La-Neuve: Academia L'Harmattan, 2016.
Znajdź pełny tekst źródłaDésirs d'ici, amours de Chine: Artistes de Chine en France. Paris: SARL Area corp, 2015.
Znajdź pełny tekst źródłaConçu en Chine, fabrique ́en France: Designed in France, made in China. Paris: Ecole nationale supeŕieure des beaux-arts, 2004.
Znajdź pełny tekst źródłaWomen and visual culture in nineteenth-century France, 1800-1852. London: Leicester University Press, 1998.
Znajdź pełny tekst źródłaArt in an age of revolution, 1750-1800. Chicago: University of Chicago Press, 1987.
Znajdź pełny tekst źródłaRosenthal, Donald A. La grande manière: Historical and religious painting in France, 1700-1800. Rochester, N.Y: Memorial Art Gallery of the University of Rochester, 1987.
Znajdź pełny tekst źródłaRosenthal, Donald A. La grande manière: Historical and religious painting in France, 1700-1800. Rochester, N.Y: Memorial Art Gallery of the University of Rochester, 1987.
Znajdź pełny tekst źródłaNicolas, Labasque, red. Patrimoine annexé: Les biens culturels saisis par la France en Allemagne autour de 1800. Paris: Maison des sciences de l'homme, 2003.
Znajdź pełny tekst źródłaGuiffrey, Jules. [Collection des livrets des anciennes expositions depuis 1673 jusqu'en 1800]. Paris: Laget, 1990.
Znajdź pełny tekst źródłaChicago, Art Institute of, red. French Salon artists, 1800-1900. [Chicago, Ill.]: Art Institute of Chicago, 1987.
Znajdź pełny tekst źródłaCzęści książek na temat "Art chinois – France – 1800-"
Parry, D. L. L., i Pierre Girard. "Republic, state, and nation confront the Father, Son, and Holy Ghost: 1877–1914". W France since 1800, 73–115. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780199252299.003.0004.
Pełny tekst źródłaCampbell, Gordon. "5. France". W Garden History: A Very Short Introduction, 63–74. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199689873.003.0005.
Pełny tekst źródłaJohnson, Dorothy. "Fabulations of the Flesh: Géricault and the Praxis of Art and Anatomy in France". W Visualizing the Body in Art, Anatomy, and Medicine since 1800, 39–60. Routledge, 2019. http://dx.doi.org/10.4324/9781351004022-4.
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