Rozprawy doktorskie na temat „Picturesque”
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Nottingham, Amy Lou. "Hilltown architecture : beyond the picturesque". Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/23389.
Pełny tekst źródłaRamsier, Allen Lewis. "Picturesque America: Packaging America for Popular Consumption". W&M ScholarWorks, 1985. https://scholarworks.wm.edu/etd/1539625288.
Pełny tekst źródłaSwingle, Tyler R. "Picturesque prairies : productive preservation on a petroleum planet". Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/115624.
Pełny tekst źródłaThis electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis. "Permit Proposal 2018.01.18." Seal of the Department of Terra Firma, United States of America printed on title page. "Permit Proposal: Maah Daah Prairie; Plains to Ports Partnership. This document was produced, edited and printed by the U.S. Department of Terra Firma under the Plains to Ports Partnership in cooperation with the state of North Dakota"--Page 7.
Includes bibliographical references (pages 161-163).
Fires burn bright atop the flare stacks in the distance as bison watch from behind the two-meter high fence of the Theodore Roosevelt National Park. In this modern scene, complex geographic formations in North Dakota's badlands have established a unique shared topography between an assemblage of seemingly disparate actors: engines, bison and humans. The Bakken formation 6 km below the surface of the earth provides enough resources to encourage rhizomatic deployment of oil and gas wells while the sedimentary surface, eroded from melting snow, provides 'scenic' lands for tourists and prairie ecosystems for bison. The socio-political distinction between actors has produced abstract borders and delineations in the form of habitats and land-use policies. Materialized through fences, these policies have created autonomous operating systems like fracture drilling and wildlife conservation that are specified for a single or hierarchical order of actors. This not only facilitates settler practices of separation and domination, but also encourages unaccountable externalities outside of the operating systems. Located between two [and a half] National Park units, this project embraces the multiple identities of the subterranean region and proposes a design strategy that engages the three actors as equal shareholders. Acknowledging the actors as an assemblage reveals material kinships and commitments to the geography that offer design considerations for shared spaces and memories. The project is composed of three archetypes, each weaving and entangling the actors within each other's programs and seasonal patterns. Through this built environment, the archetypes frame a physical and conceptual shared geography
by Tyler R. Swingle.
M. Arch.
Hicks, James. "David Roberts' Egypt & Nubia as imperial picturesque landscape". Thesis, University of Hertfordshire, 2010. http://hdl.handle.net/2299/4595.
Pełny tekst źródłaJones, Christopher. "Picturesque urban planning : Tunbridge Wells and the suburban ideal : the development of the Calverley Estate, 1825-1855". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:c0a18799-673c-4a29-b4f4-d3f525deea00.
Pełny tekst źródłaBallantine, Jessica Louise. "Reframing the picturesque in contemporary Australian and Canadian nature writing". Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/17071/.
Pełny tekst źródłaScales, Cosima. "Interrupted Landscape: A Picturesque Approach to Contemporary Paintings of Nature". Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380533.
Pełny tekst źródłaThesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
Full Text
Waddington, Keith. "Pictures and poetry : debunking the bunk : an examination of picturesque influence". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ39928.pdf.
Pełny tekst źródłaDyck, Dorothy. "The development of the picturesque and the Knight-Price-Repton controversy". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22460.
Pełny tekst źródłaKanatsu, Kazumi. "Picturesque tours in Scotland : forming an idea of the British nation". Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/14179/.
Pełny tekst źródłaHopgood, Roger. "An aesthetic inheritance : investigating the picturesque photograph and its vantage point". Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20541/.
Pełny tekst źródłaMarques-Ferreira, Julio Bandeira. "Caliban's mirror : oriental Brazil and European travellers in quest of the picturesque". Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421142.
Pełny tekst źródłaMarsh, Kimberly. "Paintings & palanquins : the language of visual aesthetics and the picturesque in accounts of British women's travels in India from 1822 to 1846". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:c87b9841-a322-4dad-95a8-44831e8ab2cd.
Pełny tekst źródłaGrant, Charlotte Helen. "The visual culture of sensibility : optics, the sentimental and the picturesque, 1712-1788". Thesis, University of Cambridge, 1995. https://www.repository.cam.ac.uk/handle/1810/251957.
Pełny tekst źródłaBowring, Jacky. "Institutionalising the picturesque: the discourse of the New Zealand Institute of Landscape Architects". Lincoln University, 1997. http://hdl.handle.net/10182/667.
Pełny tekst źródłaBroughton, Mark Edward. "Spirits of place : the English picturesque in post-Second World War audiovisual narratives". Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536569.
Pełny tekst źródłaLake, Crystal B. ""Some peculiar construction of the object" the colonization of femininity in picturesque aesthetics /". Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3088.
Pełny tekst źródłaTitle from document title page. Document formatted into pages; contains iv, 58 p. Vita. Includes abstract. Includes bibliographical references (p. 52-55).
Schenk, Luciana Bongiovanni Martins. "Arquitetura da paisagem entre o Pinturesco, Olmsted e o Moderno". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-08102008-170940/.
Pełny tekst źródłaThis research intends to explore the several meaning perceptions of the word landscape and their connection to the activity of the architect. Therefore, it runs at first the different concepts of the term landscape, trying to sort out of them the quality that seems fundamental to us: to be the great link to different themes, the place of multiple aesthetic values that makes meaningful the human-nature relationship. The confusion between concepts of landscape and nature, due to the supremacy of so-called science, and the subsequent outgrowth of planning corroborate the reduction of the complex meaning of the landscape concept. The question of a possible survival in modern times of aesthetic keys from the 18th century constitutes the background to the distinction of Frederick Law Olmsted as a pioneer in the activity of landscape architecture, of great significance of a whole era. Landscape as a construction of the eye appears in this elaboration, interlacing from historical examples a multiplicity of meanings that rejects to be straitened, and points to sources of possible misunderstandings. This work reaffirms the cultural and aesthetic dimension of art as motor for the inventions of landscape architecture.
SCHAPKER, ALLISON. "WASTELAND: DESIGNING THE UNSETTLED LANDSCAPE OF WASTE". University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053546215.
Pełny tekst źródłaBurton, A. E. "Ruins and old trees : silvicultural landscapes and Gilpin's 'Picturesque' in the long nineteenth-century novel". Thesis, University of Liverpool, 2018. http://livrepository.liverpool.ac.uk/3022590/.
Pełny tekst źródłaZHUANG, WEI. "Western Historical Gardens and Chinese Influences--From Great Britain to Picturesque Royal garden in Piedmont". Doctoral thesis, Politecnico di Torino, 2012. http://hdl.handle.net/11583/2497867.
Pełny tekst źródłaDerbyshire, Valerie Grace. "The picturesque, the sublime, the beautiful : visual artistry in the works of Charlotte Smith (1749-1806)". Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/22192/.
Pełny tekst źródłaD'Aniello, Charles Perseus. ""A Morbid Longing for the Picturesque" : The Pursuit of Beauty in Donna Tartt's The Secret History". Thesis, Södertörns högskola, Engelska, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-45579.
Pełny tekst źródłaSciampacone, Amanda Christina Hui. "Filth, ruin, and the colonial picturesque : James Baillie Fraser's representations of Calcutta and the Black Hole monument". Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/28032.
Pełny tekst źródłaКустов, Аркадій Володимирович, Аркадий Владимирович Кустов, Arkadii Volodymyrovych Kustov i М. А. Курилова. "Применение рисуночных тестов в клинике душевных заболеваний". Thesis, Издательство СумГУ, 1997. http://essuir.sumdu.edu.ua/handle/123456789/24780.
Pełny tekst źródłaKuffner, Joshua A. "Illuminating the Sublime Ruin". University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367941361.
Pełny tekst źródłaKonoshima, Nanako. "Dickens and the Visual Arts: Literary Imagination and Painted Image". 京都大学 (Kyoto University), 2014. http://hdl.handle.net/2433/189331.
Pełny tekst źródłaGroves, Stephen. "The sound of the English picturesque in the late eighteenth century : native vocal music and Haydn's The Seasons". Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367391/.
Pełny tekst źródłaTintin, Hodén. "Att visualisera Orienten : En närläsning av Linda Nochlins The Imaginary Orient utifrån Edward Said och John M Mackenzie". Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-11683.
Pełny tekst źródłaLatusek, Matthew Alexander. "Anticipations of Utopia : discovering an architecture for post-war Britain". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/28683.
Pełny tekst źródłaRising, Hope. "Water Urbanism: Building More Coherent Cities". Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19350.
Pełny tekst źródłaYallop, Rosemary. "Villa rustica, villa suburbana : Vernacular Italianate architecture in Britain, 1800-1860". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:d391fc9b-a7c8-4d57-9f7d-751b869cecaf.
Pełny tekst źródłaChapman, Stephen. "Imagining the Thames : conceptions and functions of the river in the fiction of Charles Dickens". Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1528.
Pełny tekst źródłaAlmeida, Débora Alexandra da Silva. "Um olhar romântico na idade contemporânea". Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/18014.
Pełny tekst źródłaO presente ensaio aborda o tema do ‘Romantismo’ como matriz para uma intervenção arquitectónica contemporânea e, como tal, assume-se a vontade de conceptualização de “um olhar romântico”, cuja presença faz-se sentir no decorrer da Idade Contemporânea, nas mais variadas manifestações artísticas, a qual justifica a pertinência do estudo do mesmo, assim como a sua possível aplicação arquitectónica na actualidade. Neste sentido, a significação, ambígua e relativa como o próprio ‘Romantismo’, conferida a “um olhar romântico” ganha forma através dos conceitos de ‘Ruína’, ‘Pitoresco’, ‘valor de antiguidade’, das posturas de intervenção em monumentos ou ruínas proferidas por Ruskin e Viollet Le Duc e da ideia de arquitectura do lugar e de amalgamação entre a intervenção e as preexistências construídas e naturais, procedendo-se à sua aplicação na prática projectual, com intuito à reconversão da Quinta da Arealva numa pousada. Reflectiu-se acerca do território no qual se encontra o objecto arquitectónico, a frente ribeirinha norte de Almada, de Cacilhas à Arealva, da qual resulta uma estratégia urbana que propõe directrizes com o intuito de solucionar o estado de degradação e abandono desta franja ribeirinha com enormes potencialidades. Em epítome, o presente Projecto Final de Mestrado com especialização em Arquitectura, pretende dar resposta a três questões: ‘Onde?’, ‘Porquê?’ e ‘Como?’. A primeira questão - ‘Onde?’ - responde-se com o subtítulo do trabalho - a Quinta da Arealva -, assim como a última questão - ‘Como?’ - com o título do mesmo - “Um Olhar Romântico na Idade Contemporânea” - e, consequente investigação dos temas a ele concernentes. O ‘Porquê?’ assume-se ao longo do documento, através das visitas e leituras efectuadas no decorrer do trabalho, assim como a constatação do estado de degradação e dos valores reconhecidos no lugar que elevam a vontade de intervenção sobre mesmo.
ABSTRACT: The present essay deals with the theme of ‘Romanticism’ as a matrix for a contemporary architectural intervention and, as such, assumes the desire to conceptualize a ‘romantic view’, whose presence is felt during the course of the Contemporary Age, in the most varied artistic manifestations, which justifies the pertinence of the study of the same, as well as its possible architectural application at the present time. In this sense, the meaning, ambiguous and relative as the ‘Romanticism’ itself, conferred on ‘a romantic view’ takes shape through the concepts of ‘Ruin’, ‘Picturesque’, ‘age value’, the intervention positions on monuments or ruins by Ruskin and Viollet Le Duc, and the idea of an architecture of place and amalgamation between the intervention and the built and natural preexistences, and its application in the project practice, aiming at the reconversion of Quinta da Arealva into an hostel. A reflection has been made on the territory in which the architectural object is located, the northern riverside of Almada, from Cacilhas to Arealva, resulting in an urban strategy that proposes to solve the state of degradation and abandonment of this riverside fringe with enormous potentialities. In an epitome, the present Final Master Project with a specialization in Architecture, aims to answer three questions: ‘Where?’, ‘Why?’ And ‘How?’. The first question - ‘Where?’ - is aswered with the subtitle of the work - Quinta da Arealva -, as well as the last question - ‘How?’ - with the title of the same - “Um Olhar Romântico na Idade Contemporânea” -, and consequent investigation of the themes that concern it. The ‘Why?’ is assumed throughout the document, through the visits and readings made in the course of the work, as well as the verification of the state of degradation and the recognized values in the place that raise the will to intervene on it.
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Jotham, Justine. "Le spectacle et le spectaculaire chez les frères Goncourt : représentation de la société et création de soi". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100161/document.
Pełny tekst źródłaParis, under the Second Empire, was the world capital of spectacle. This image, as much as it is a myth, also depicts the reality of social relationships that were akin to the rules of drama.This is the milieu Edmond & Jules de Goncourt live in. The spectacle and spectacular of all kinds fascinate them and account for their work, and also their place as writers in society. These two words tell us about their inspiration and style, which are infused by drama and painting, as well as their artistic position among literary sociability, artists, bohemians, and the press of the middle of the nineteenth Century. In their books, the Goncourt brothers give a representation of this time by revealing the codes of make-believe. Their stylistic aspiration, deemed “écriture artiste”, which goes across the rules and borders of literary genres, claims their position of superiority to show their aristocratic aspirations and their artistic tastes. Their position is that of modern men, thinking about modernity as Balzac and Baudelaire did earlier, but in some ways, their position also seems to be an anti-modern one. Their artistic observation, or oeil-artiste, enriched by painters and playwrights, who they converse with or whom they emulate, is shrewd. Their production is both spectacular and specular. This mirror, which they are presenting society with, is inspired by painting techniques, literary genres and tones, like dramatic pantomime, parody, comedy and satire. It shows kaleodoscopic views of their contemporaries and of their own life, scripted and staged like a work of art
Jost, Erdmut. "Landschaftsblick und Landschaftsbild Wahrnehmung und Ästhetik im Reisebericht ; 1780 - 1820 ; Sophie von La Roche - Friederike Brun - Johanna Schopenhauer". Freiburg i. Br. Berlin Rombach, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2764370&prov=M&dok_var=1&dok_ext=htm.
Pełny tekst źródłaChuang, Yu-Cheng. "Cross-currents in the work of Yu-Cheng Chuang : an examination of the Chinese principle of Jingjie and Western idea of the picturesque as parallel influences on site-specificity in land art". Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408342.
Pełny tekst źródłaCooper, Madeline. "Exegesis and screenplay for a feature film entitled: PictureSque a dissertation submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Bachelor of Communication Studies (Honours) (BCS(Hons)), 2008 /". Click here to access this resource online, 2008.
Znajdź pełny tekst źródłaPimentel, Juliana. "La tarentelle pour piano en France à travers les partitions éditées de 1828 à 1914". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040016.
Pełny tekst źródłaThis study relies on a corpus of tarantellas for piano, which were released in France from the end of the 1820s until World War I. From the starting point of the supposed origins of this dance – between catharsis, healing rituals, and then its mutation into an entertaining dance – the author reaches an understanding of how a dance, which actually originated in Southern Italy has come to occupy a significant place in the French pianistic literature of the 19th century. After a first section devoted to the way travellers’ tales, novels and press releases contributed to foster picturesque imagination surrounding the tarantellas, the second section deals with the issue of its adaptation to the French Romantic century criteria. One learns, among others, that the tarantella from La Muette de Portici by Auber provided a model for subsequent tarantellas, which featured in numerous operatic works of that time. Along with Rossini’s La Danza, Auber’s Tarantella initiated an authentic trend for pieces, which were taking inspiration from lively components so characteristic of this dance. Eventually, the third section brings a particular emphasis on the 496 piano pieces of the author’s corpus. This section analyses them in the light of their illustrated cover pages, evocative titles, and also the way several musical parameters such as rhythm, tonality, tempo, etc. are treated. With a repertoire encompassing easy pieces intended to parlour attendees to more virtuosic concert works, the tarantella seduced the French audiences through its transalpine evocative power and the energy of its whirling rhythm
Mesquita, Giorgia. "O pitoresco". Universidade do Estado de Santa Catarina, 2007. http://tede.udesc.br/handle/handle/732.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research investigates the picturesque in contemporaneity of works produced by me, especifically photographs, where such aesthetic category can be highlighted. From Richard Payne Knight, Uvedale Price and William Gilpin, three main XVIII theoreticians, the picturesque was conceptualized as a model for arranging and as landscape itself. Together with these authors, the artist Claude Lorrain was studied, on account of the magnificence nature of his landscapes, and Robert Smithson, author of Monuments of Passaic. Both problematize the picturesque and time, which are issues that were later investigated in tandem with George Didi-Huberman´s concept of survival and Rosalind Krauss´s concept of originality. Such approaches highlight a picturesque that is not only aesthetic, closed typology inside objective and formal qualities, but also reverberations that invite other ways of looking at contemporary landscape. The works that I present in this study used these theoretical and historical issues to understand the allure of determined conditions of nature elements found both in and out of the city space. Grasses, weeds and other plants appear in wastelands, lagoons and beaches, sidewalks and walls, equivalent to the longed English garden nature for showing how splendid the natural growth is
Esta pesquisa investiga o pitoresco na contemporaneidade a partir de trabalhos que produzo, especificamente fotografias, onde tal categoria estética poderá estar sendo evidenciada. A partir de Richard Payne Knight, Uvedale Price e William Gilpin, seus principais teóricos do século XVIII, o pitoresco foi compreendido como sendo o próprio modelo de arranjo e conceito de paisagem. Junto a esses autores, foram pesquisados os artistas Claude Lorrain, devido à natureza magnificente de suas paisagens, e Robert Smithson, a partir do trabalho Monumentos de Passaic. Ambos problematizam o pitoresco e o tempo, que são questões posteriormente investigadas juntamente ao conceito de sobrevivência de George Didi-Huberman e de originalidade de Rosalind Krauss. Tais abordagens apontam para um pitoresco que não é somente tipologia estética, fechada dentro de qualidades objetivas e formais, mas reverberações que disseminam outras maneiras de olhar para paisagem contemporânea. Os trabalhos que apresento valem-se dessas investigações teóricas e históricas para compreender o fascínio diante de determinadas condições dos elementos da natureza, encontrados tanto no espaço das cidades quanto fora dele. Mato, capins e plantas daninhas aparecem em terrenos baldios, lagoa e praia, calçadas e paredes equivalendo-se à natureza almejada pelos jardins ingleses, àquela que se mostra esplendorosa por invocar um crescimento natural
Davidsson, Carl-Ludwig. "Robert Louis Stevenson’s Romantic Sensibility : Nature and Human Emotion in An Inland Voyage and Travels with a Donkey in the Cévennes". Thesis, Stockholms universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144490.
Pełny tekst źródłaMuirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /". Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.
Pełny tekst źródłaThesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.
Bremmer, Magnus. "Konsten att tämja en bild : Fotografiet och läsarens uppmärksamhet i 1800-talets Sverige". Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-116564.
Pełny tekst źródłaWhalley, Cybill. "Des ténèbres à la gloire : peindre la montagne en Grande-Bretagne (1747-1867)". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H323/document.
Pełny tekst źródłaUntil the 18th century, mountainous scenery in Britain was unknown to most of the inhabitants, and it was regarded as wild and gloomy. However, places such as the English Lake District, the Welsh Snowdonia and the Scottish Highlands were instrumental in the development of the art of landscape painting in Britain between the 18th and 19th centuries. Artists’ observation of the northern mountains captured the imagination through two major notions : the picturesque beauty and the sublime. Indeed, walking in English gardens lead to the Home Tour in mountainous lands. From a gloomy natural form following the Flood, the mountain became a symbol of insularity. This called for a re-enchantment through paintings and poetry, and then the mountain was allowed its glory. Watercolourists drew the mountains from Britain and turned them into a studio en plein-air. Thus, topography views led to a new artistic composition, where mountains became more and more painted in visual arts until the creation of a chaos synonymous with Romanticism. In the second half of the 18th century, these mountainous territories took part in the myth of Britishness. They became a symbol of origin, developing along with industrial modernity. The pacification of the Highlands from 1747 encouraged studies on the primitive past, where the northern mountains were natural ruins. In 1820-1830, the quest for origin also implemented the rise of national identities in Scotland and Wales upon British soil. These identities attempted to put an end to Anglicisation by claiming their own cultural specificities and reclaiming the mountain as their national symbol
Mezinski, Zenon. "Les chemins du paysage : quatre artistes voyageurs autour de la Méditerranée (1780-1840). Jérôme-René Demoulin, Jacques Moulinier, François Liger, Antoine-Laurent Castellan". Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30077/document.
Pełny tekst źródłaBetween 1780 and 1830 the conception of landscape, changed radically. At the turn of XVIIIth and XIXth centuries a brotherhood of artists were in Rome who had a new concept of the relationship between architecture and nature. The aesthetic journeys undertaken by these four Frenchmen of the same generation, Jérôme-René Demoulin (1758-1799), Jacques Moulinier (1757-1828), François Liger (1757-?) and Antoine-Laurent Castellan (1772-1838) are the subject of this study. Whilst following their profession as artists, travellers and making long journey across Europe in time of war, they maintained their link with the city of Montpellier. Involved at the heart of scientific investigations or making journeys in pursuit of the picturesque, these men made a harvest of designs from Madrid to Constantinople. The object of this study is firstly torediscover the individual journeys and drawings of each one and to come close to their individual aesthetic. The musee Fabre at Montpellier holds a large proportion of the drawings made during their travels within its collections. Thus in order to complete a definitive catalogue for each of these artists, 4 new catalogues from a total of 450 designs, a great deal of exacting research was necessary. Secondly to analyse each body of work to discover the place each one held in contemporary artistic trends more exacting study was required. These men form neither a group or a sample study. By their works and travels they represent a fragment of the landscape work of their time. Inheritors of their ideas in the XIXth century from the picturesque views of Jacques Moulinier, to the intuition of Antoine-Laurent Castellan, who made his studies in the forest of Fontainebleau from 1819, prefigure the future concepts of landscape
Bernard-Faivre, Dominique. "Esthétique de l'oeuvre et/ou esthétique des effets. Continuité et/ou rupture dans les arts plastiques contemporains : vers une esthétique de la réception ?" Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1001/document.
Pełny tekst źródłaOur thesisconcerns the question of beauty in the contemporaries plastic arts. But this one does not without saying, if we consider the simple fact of the numerous publications concerning the rejection of contemporary art. May we speak, today, of a "work's esthetic" which refers to a "science of beauty" and to an essentially intellectual satisfaction? We mean an intrinsic beauty, like the one of the Renaissance's art, concerning as much the harmony as the exactness of the forms or the legitimacy of its contents. We mean an art which puts in a prominent position the mimêsis, the perspective's method or the religious motifs. Or would not it be better, in the intention to become able to judge of the esthetic value of contemporary art, to give a first place to the singularity of his causes and effects, at the same time we slide towards a "science of the sensibility" ? In fact, our parallelism between "work's esthetic" and "continuity", then between "effect's esthetic" and a possible "breaking" makes us think about reasons of this breaking, such as the refusal of profundity or as the figurative representation, as well asthe rejection of construction works or noble material. However, we have succeded to consider contemporary art as a real and new poiêsis, in spite of his specific political and technical ways of realisation. And we may assert that, today, undeniably, it is the matter of real art, and even of "epiphany", as soon as we refer to the ontological and laudatory point of view of the philosophe François Dagognet
Birkle, Eric Michael. "Detroit’s Belle Isle Aquarium: An Idiosyncrasy of Identity, Style, Modernity, and Spectacle". Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1555674210421851.
Pełny tekst źródłaWang, Hsiu-Chang, i 王琇璋. "Flower Language and picturesque Scene". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3xuexh.
Pełny tekst źródła國立臺灣師範大學
美術學系
106
Lotus, with rich spiritual essences and cultural significances, has long been the subject of poems and images. Going through the physical and mental pains and sufferings caused by a car accident, I achieve a fuller and deeper understanding of impermanence. The heightened awareness of life gives me inspiration for creation. Hence, I decide to take lotus as my subject and engage in the research for and creation of Flower Language and Picturesque Scene: Rhythm of Lotus. This thesis will divide into five chapters. The content and structure can be summarized as the following: The first chapter is the introduction, which describes the motivation and purpose of the research, the range of research, the methodology, the planning of the creation, and explanation of terms. The second chapter begins with ecological observation of lotus, depicts the burgeoning of lotus seeds, the blooming and fading of lotus flowers, and extends to the expressive significances of lotus within the humanities, religions, and arts; this chapter also discusses “rhythm of lotus,” analyzing how the elaborate-style technique depict the clear-cut shape of lotus while the expressive-style techniques capture lotus’s natural spirit; this chapter ends with the appreciation and analysis of previous master painters and their lotus works. The third chapter consists of my personal creative practices and exploration. I attempt to utilize gouache mineral pigments to achieve a deeper confluence of gouache and ink; I wish the use of multimedia can serve as a better platform for the diversified joining of artistic inheritance and technical and subject innovation. The fourth chapter analyzes the creation of Rhythm of Lotus series. This series can be divided into two sub-series according to the lotus imagery and the perspectives of life: I. Works created primarily with mineral pigments: works of this sub-series include “Formation, Existence, Destruction, and Emptiness,” “Crossing,” “True Emptiness, Wondrous Existence,” and “Imaginary Interpenetration.” Life cycles of lotus represent the change and impermanence of human life; these paintings attempt to depict the natural law embedded within the birth, aging, illness, and death of human beings. II. Works created primarily on the basis of lotus imagery: works of this sub-series include paintings with expressive-style techniques like “Untainted,” “Silent Waiting,” and “Autumnal Lotus” and paintings with elaborate-style techniques like “Light Fragrance,” “Strong Fragrance,” and “Lotus Dreams.” These paintings attempt to explore the inner spirit and outer characteristics of lotus and transform them in this painting series. The fifth chapter will be my reflection of this research and some aspiration for the future.
Allen, Meredith L. "An aesthetic pedagogy Mary Wollstonecraft's picturesque style /". 2007. http://www.lib.ncsu.edu/theses/available/etd-05112007-114431/unrestricted/etd.pdf.
Pełny tekst źródłaSHU-HUA, CHANG, i 張素花. "The creative stady of KEELUNG landscape & picturesque sence". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/83247015557364166715.
Pełny tekst źródła國立臺灣藝術大學
造形藝術研究所
94
From Landscape to Mindscape: A Study of KEELUNG Landscape Painting KEELUNG originally named after “chicken cage,”has changed through time. With Its beautiful landscape of mountain and sea, KEELUNG occupies an important geographical position in Northern Taiwan. A combined port for trade, fishery, and military, KEELUNG witnesses coming and going of ships and recounts a past of war and sorrow. Different histories intersect in the port city and open up many possibilities for thought and research. On the other hand. the geological environment also bestows on KEELUNG a special landscape: under the impact of winds and waters, the surrounding Coast was corroded into a protean landscape. The variety and idiosyncrasy of the Landscape make KEELUNG a favorite fountain of inspiration for poets and painters. This thesis focuses on the landscape of KEELUNG It delineates the history and geography of KEELUNG to show the humanistic and geographical characteristics of the port and the city. This discussion will be the basis of the transformation of the Jinjie, or the painting stance. The jurisdiction of the area changes hands several times; Hollanders, Spaniards, Japanese, and Chinese all ruled this city before. The activities of ancestors and relics of different battles accumulate in KEELUNG history. This, with its special natural landscape, adds up the research possibility to its recreational merits. However, in order to study the painting stance objectively, the thesis also analyzes the emotional and ideational stances of the natural landscape. To begin with, the thesis analyzes the aesthetics of “ideational stance” from traditional Chinese ink painting. The concept of “ideational stance” involves learning from nature and elevating the natural-ness; it combines realistic styles with ideational concerns. The structure and brush strokes are imbued with the self-consciousness of the painter. This theory emphasizes the correspondence of the landscape with the painter’s emotion and ideation. The painting must merge the realistic landscape with the painter’s mindscape. Furthermore, this theory also shows how a viewer can connect to the painter’s mindscape through the depicted landscape so as to ensure a mental growth in the viewer. Furthermore, the thesis adopts Shi-tao’s theory, which describes a painting stance of the encounter of painter’s spirit with mountains and creeks. Gu Kai-zhi’s portrait painting theory, which promotes “depicting the spirit through external forms” and “epiphany of the spirit, ”can also be applied to landscape painting. The thesis considers the images of the objects and the relations between form and spirit. The conclusion is that a painter should observe and understand the inner charact