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Rozprawy doktorskie na temat "Arts graphiques – Expositions"
Brosseau, Lise. "Les propositions curatoriales de designers graphiques (2006-2016) : mutations et réflexivité d’un champ par l’exposition". Electronic Thesis or Diss., Rennes 2, 2024. http://www.theses.fr/2024REN20001.
Pełny tekst źródłaDuring the 2000s and 2010s, after several decades of debates and considerations regarding the recognition of practice and culture of graphic design, and the importance to write its history, graphic designers from a same generation began to organize - mainly in Europe - temporary exhibitions dedicated to their own field of productions. These curatorial projects are characterized by a certain complexity that lies in their conceptual and reflexive approaches, often involving exploration or experimentation, and sometimes using fiction or speculation. What emerges from these graphic designers' proposals is a desire to promote the work of their peers who are mostly part of the same network of acquaintances - and a predisposition to mobilize different cultural sectors, such as education and publishing. More importantly, these approaches reflect an intention to generate discussion, to interrogate and reformulate the boundaries of graphic design from the perspective of practicing graphic designers. In the broader context of technological shifts that are challenging the role and status of graphic designers, this dissertation aims to examine the historical and theoretical significance of exhibitions that have been relatively understudied in France. These events were envisioned both as space for asserting the identity of graphic design and the professionals operating within this field, a place for expanding and extending the practices of said professionals, but also occasions during which they engage in the reflexive archaeology of their own discourses and specificities
Humbert, Candice. "L'élaboration d'une culture artistique régionale : Grenoble et ses artistes de 1796 à 1853 : (volume 1 - texte)". Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAH020/document.
Pełny tekst źródłaOur study into The emergence of a regional artistic culture […] proposes exploring artistic output in Dauphiné in the first half of the 19th century. Inspired by the increasing trend seen over recent years towards examining regional cultural identity, the purpose of our research is to fill a void but also to meet a wider demand for knowledge about this period, one overlooked at a local level but which was nevertheless very rich in dialogue and experimentation. We seek to explain the correlation between the artistic, institutional and social components of the cultural environment in Dauphiné, to assess their roles and importance. To do so, our field of study has been limited to painting, sculpture and drawing due to their prominent position in the exhibitions. Moreover, we should specify that since 1790 the Dauphiné area has included the departments of Isère, Drôme and Hautes-Alpes. However, the main department analysed in our investigation is Isère and more particularly the town of Grenoble, where much of the region's artistic activity is concentrated.Thus, how was regional artistic life structured through the institutions and what has been the importance of the individual actions with regard to its development? A study of the founding and role of the institutions in Grenoble, where we find the existence of a drawing class, a museum, an exhibition and a ‘Friends of the Arts’ society, firstly shows the different collective and individual efforts being made. An exploration of the local heritage in addition to the interest shown by Grenoble’s inhabitants in art and cultural activities confirm that Grenoble and its residents took an interest in the development and dissemination of the fine arts.Secondly, an examination of the careers of regional artists and the arrival in Dauphiné of painters and illustrators from outside the area or the eventual destination of the works, naturally generate questions concerning training, travel, the circulation of people, of works, and the artistic relationships existing between the various regions. Additionally, these subjects gradually lead us to consider such matters at national and transnational level. At a national level, Paris takes centre stage due to the training it provides for artists from the French regions but also for the cultural emulation effect characterising it. At a transnational level, Italy has attracted many artists from Dauphiné, thanks to its geographical proximity to Dauphiné and its high "top of mind" status in the artistic imagination. It cannot be denied that the interactions between artists and the clash of different cultures contributed to the rise of the artistic scene in Dauphiné. But just as the region's artists were exploring other areas, movement was also occurring in the other direction, with Dauphiné constantly being visited by "outsiders". Their contribution is a fundamental issue which we have examined as they have sometimes been the source of aesthetic changes in Dauphiné's artistic output. Similarly, an examination of the geography of the sites at which Dauphiné's artistic works are stored enables us to appreciate the extent of their "reach" outside Dauphiné and also to identify which themes were particularly sought-after.Finally, our research highlights the growth and diversity of Dauphiné's artistic production to position local artists in a wider sphere of contemporary sensitivity and ability. From the "major" genre to the "minor" genres, it assesses regional creative output, explaining what characterises it and how it follows national fluctuations in output.It was therefore necessary without a doubt to examine the first half of the 19th century to understand how a regional artistic culture emerged in Dauphiné and to better understand the sources of the success of local painters after 1850 and more generally the growth of the fine arts in Dauphiné in the 19th century
Imbert, Clémence. "Oeuvres ou documents ? : un siècle d’exposition du graphisme dans les musées d’art moderne de Paris, New York et Amsterdam (1895-1995)". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080084/document.
Pełny tekst źródłaThis dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use
Książki na temat "Arts graphiques – Expositions"
Lidŏsŭ, K'ŏlch'yŏ aen Ai. Yŏngguk esŏ on made in Chosŏn: Pukhan kŭraep'ik tijain chŏn = Made in North Korea : graphics from everyday life in the DPRK. [Sŏul]: (Chu) K'ŏlch'yŏ aen Ai Lidŏsŭ, 2019.
Znajdź pełny tekst źródłaMarcus, Joshua. Designers' selfimage: An international showcase of the world's leading graphic artists based on an Israel Museumexhibition. New York: PBC International, 1991.
Znajdź pełny tekst źródłaMarcus, Joshua. Designers' self image: An international showcase of identity graphics. New York: Library of Applied Design, 1991.
Znajdź pełny tekst źródłaPaul, Céline. Les mystérieux du XVIIe siècle: Une enquête au cabinet d'art graphique : [exposition, Nancy, Musée des beaux-arts, 2002]. Paris: Réunion des Musées nationaux, 2002.
Znajdź pełny tekst źródłaGleizes, Albert. Albert Gleizes, l'œuvre graphique , "La lumière et le trait": Exposition, juin-septembre 1990, ville de Lyon, Musée de l'imprimerie de la Banque. [Lyon]: Association des amis du Musée de l'imprimerie et de la Banque, 1990.
Znajdź pełny tekst źródła1939-, Aeschlimann Roland, i Musée des arts décoratifs de la ville de Lausanne., red. Quatre expressions graphiques d'une décennie: R. Aeschlimann, P. Brühwiler, W. Jeker, R. Pfund : [exposition] Musée des arts décoratifs, Lausanne, du 27 avril au 2 juin 1985. Lausanne: Musée, 1985.
Znajdź pełny tekst źródłaBrancusi, Constantin. La dation Brancusi: Dessins et archives : exposition présentée au Centre Pompidou, Galerie d'art graphique, 25 juin-15 septembre 2003. [Paris]: Centre Pompidou, 2003.
Znajdź pełny tekst źródłaBourgeois, Louise. Louise Bourgeois: Pensés-plumes : Cabinet d'art graphique, 1er février-10 avril 1995. [Paris]: Musée national d'art moderne/Centre de création industrielle, Centre Georges Pompidou, 1995.
Znajdź pełny tekst źródłaMusée national d'art moderne/Centre de création industrielle (France). Cabinet d'art graphique. Oeuvres sur papier: Acquisitions 1996-2001 : collections du Centre Georges Pompidou, Musée national d'art moderne, Cabinet d'art graphique : exposition présentée au Centre Georges Pompidou, Galerie d'art graphique, 26 juin-20 septembre 2001. Paris: Centre Pompidou, 2001.
Znajdź pełny tekst źródłaBaselitz, Georg. Georg Baselitz: Dessins 1962-1992 : Musée national d'art moderne, Cabinet d'art graphique, 13 octobre 1993-2 janvier 1994. Paris: Editions du Centre Georges Pompidou, 1993.
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