Teses / dissertações sobre o tema "Académie de Peinture et de Sculpture de Cassel"
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Vigroux, Perrine. "Les femmes à l'Académie royale de peinture et de sculpture (1663-1793) : sociabilité, pratique artistique et réception". Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30030.
Texto completo da fonteFifteen women artists will be admitted to the Royal Academy of Painting and Sculpture between 1663 and 1793. Sincethe Renaissance, Europe and France, a small number of women enjoys a certain reputation both nationally andinternationally, in arts, literature and science, thus opening the way for new talent. These women are particularlyencouraged by the philosophical theses of Francois Poulain de la Barre (1647-1723) which will enable them to occupy amore privileged in a society that crystallizes around lounges. They are small and scholarly meetings where artists invitehome men and women to discuss literature, philosophy, art but also politics. These very popular places with greatsuccess in the late seventeenth century and throughout the eighteenth century. The reception of the first women to theAcademy is in this climate quite favorable to women both socially and culturally, and politically.But this admission only remains precarious. Indeed after the entry of Catherine Perrot, January 31, 1682, it will takealmost forty years, October 26, 1720, that is again admitted a painter Rosalba Carriera. Certainly, they open the doors ofthis institution, but they are nonetheless excluded from many activities and many privileges. They do not have the rightto attend classes of the living model - which poses naked - yet fundamental lessons in teaching promoted by theAcademy, nor to compete with great prices, yet in the heart of the system emulation in fact the academicians will neverhave access to positions of responsibility. Yet they have helped to reinvent the French artistic landscape and especiallythe portrait genre. Advocating natural, they helped to renew the female locker room with more light and gauzy outfits.Badly perceived by critics, these new shirts called saplings, took part in the simplification of official portraits. At thesame time, the feminization of court portraitists offer greater opportunities to women painters. Pushing the limits stillfurther, they succeeded through portraits to invest storied history painting, genre reserved for the most accomplishedpainters and good command of anatomy.Their contemporaries through their writings or artistic works proposed an idealized image, faked sometimes deceivedthese academicians. talented women, ambitious women, academicians still managed to impose a new vision of thewoman painter
Guillin, Marjorie. ""L'anéantissement des arts en province ?" : l'Académie royale de peinture, sculpture et architecture de Toulouse au XVIIIe siècle (1751-1793)". Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20080.
Texto completo da fonteThe Royal Academy of Painting, Sculpture and Architecture of Toulouse was founded in 1751 by royal letters patent. Until its termination by a Convention decree on 8th August 1793, it has been the only art academy outside Paris of that stature ever. In the 19th century, the French art historian Philippe de Chennevières-Pointel, an active advocate of provinces, presented it as a showcase of thriving guardian of regional arts that balanced the centralizing and inhibiting Paris' Royal Academy of Painting and Sculpture. Leveraging a rich corpus of documents and illustrations, most of them undescribed to this day, this study sheds a brand new light on the Toulouse Academy: its origins, the details of its rise, its daily teachings, its shortcomings and its achievements
Faure-Carricaburu, Emmanuel. "La hiérarchie des genres dans l’Académie Royale de Peinture et de Sculpture : institution, discours, œuvres". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080045.
Texto completo da fonteThe hierarchy of genres has long been presented by art historians with an interest in the French Royal Academy of Painting and Sculpture, as the symbol of an « official doctrin » supposedly dominating the institution. Because it was never meticulously defined in conjonction with the study of archives such as statutes and conference reports, it slowly became common knowledge, to the point where the complexity of its terminology was sometimes reduced to nothing more than the foreword to Conférences by Félibien. So it became the subject of a theoretical conflict between on the one hand detractors of the Academy, which they accused of suffocating the creativity of artists, and on the other, people who believed in its rehabilitation against the exaggerations of traditional historiography since the 19th century. The perspective of this research takes root in the cracks of these approaches : because questioning the institutional meaning and function of the hierarchy of genres, as well as the internal resistance to it, allows us to assess the Academy as the host of a conflict born from the connection between the notions of art and power one can find within. My focus is precisely the incorporation of this rule within a program (in Foucault’s sense of the term) – which materialised through the writing of the statutes of 1663, which afford superior status to history painting over other genres, as well as through the production of an official discourse. The work of Desportes, Santerre, Chardin for instance are all responsible for destablising hardened genre identities through regulations, and they suggest a prolific line of thought relating to the use of the dynamic notion of genres
Faure-Carricaburu, Emmanuel. "La hiérarchie des genres dans l’Académie Royale de Peinture et de Sculpture : institution, discours, œuvres". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080045.
Texto completo da fonteThe hierarchy of genres has long been presented by art historians with an interest in the French Royal Academy of Painting and Sculpture, as the symbol of an « official doctrin » supposedly dominating the institution. Because it was never meticulously defined in conjonction with the study of archives such as statutes and conference reports, it slowly became common knowledge, to the point where the complexity of its terminology was sometimes reduced to nothing more than the foreword to Conférences by Félibien. So it became the subject of a theoretical conflict between on the one hand detractors of the Academy, which they accused of suffocating the creativity of artists, and on the other, people who believed in its rehabilitation against the exaggerations of traditional historiography since the 19th century. The perspective of this research takes root in the cracks of these approaches : because questioning the institutional meaning and function of the hierarchy of genres, as well as the internal resistance to it, allows us to assess the Academy as the host of a conflict born from the connection between the notions of art and power one can find within. My focus is precisely the incorporation of this rule within a program (in Foucault’s sense of the term) – which materialised through the writing of the statutes of 1663, which afford superior status to history painting over other genres, as well as through the production of an official discourse. The work of Desportes, Santerre, Chardin for instance are all responsible for destablising hardened genre identities through regulations, and they suggest a prolific line of thought relating to the use of the dynamic notion of genres
Chastagnol, Karen. "La seconde génération des peintres de Louis XIV (1665-1715) : peindre l'Histoire : formation, culture visuelle et production". Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30035.
Texto completo da fonteThrough which terms History painting is changing under the reign of Louis XIV? History painting evolves during the period which covers the second part of the reign of Louis XIV. This change is due to modifications dependent on the evolution of the Royal commissions and of the Academic framework itself, as well as the transformation of the context of creation apart from the Royal Academy which renews the way of apprehending and conceiving the History painting. From the study and analysis of the works of History painters members of the Royal Academy of Painting and Sculpture between 1673 and 1694, this thesis reconsiders the criteria of evolution of historical style in painting at the turn of the XVIIe Century. To begin with, the artists’ training and the definition of History painting at that time shall be discussed (I). Then we shall analyze the production of these painters for the Royal Academy and for the King after their approval within the Royal institution (II). Furthermore, in order to define better the History painting characteristics at this time, the study of the works for private individuals and religious institutions (i.e. apart from the Royal Academy) will question the historiographic vision which claims that History painting comes from a crisis; it will also clarify its new ways of transformation, in particular through the hybridization of styles (III)
Manceau, Nathalie. "La mise en mots de l'oeuvre d'art : les écrits de Baillet de Saint-Julien et la genèse de la critique d'art en France au XVIIIe siècle". Paris 10, 2009. http://www.theses.fr/2009PA100130.
Texto completo da fonteThe purpose of this paper is to study the first documented art review published in the press and in brochures on the exhibitions by the Académie Royale de Peinture et de Sculpture at the Salon du Louvre. Greater emphasis is given to the work of Guillaume Baillet de Saint-Julien (1726-1795) who wrote texts on several “salons” as well as the first French poem on painting. Through research into archives, it was possible to piece together his biography and career as both a critic and collector who particularly appreciated drawings, engravings and French paintings. His “salons” are set against those of his contemporaries (La Font de Saint-Yenne, Gougenot, Laugier, Estève, Fréron, etc. ) as well as articles printed in the Mercure de France and the Journal de Trévoux to give both an overall and specific account of the origins of art reviews around 1750. This text focuses on the way in which works of art are translated into words and how judgment is expressed. Reviews are not transparent reflections of the work and consist of many diverse and contradictory dimensions. The authors use artistic discourse, follow the literary expectations of the time (while rejecting any form of erudition) to improve their position in society. The Baron de Saint-Julien was following his personal ambitions at a time when laymen were taking an interest in fine arts, much to the dismay of the Académie. Fascination with works of art does not include the artist whose role is minimised while critics use various strategic arguments to legitimise their positions. These new texts are written by non-specialists for laymen who crave greater ownership of these works of art through oral and written assessment
Blaney, Gerald W. "Nicolas Poussin, Charles Le Brun and the Royal Academy of Painting and Sculpture, Paris 1648, a kinship of aesthetics". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50497.pdf.
Texto completo da fonteBoyer, Sarah. "D’après l’antique et les maîtres : copies dessinées des pensionnaires de l’Académie de France à Rome et de leur entourage sous la direction de Charles-Joseph Natoire (1752-1775)". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040130.
Texto completo da fonteThe aim of this dissertation covers the practice of copying after the Antique and Masters at the French Academy in Rome while Charles-Joseph Natoire was its director between 1752 and 1775. It relates to the field of drawing and extends to the artists who gravitated around this institution. First the institutional context is considered, the premises and compulsory classes, in order to define the context in which drawing after the Antique and the Masters was practiced. The creation of painted copies outside the Palazzo Mancini raises the question of a dichotomy between models imposed and the choices of the pensionnaires when they were drawing studies in the basilicas, churches, palaces and museums of Rome. The second section provides a comparative analysis between the ancient and modern sources chosen and the pensionnaires’ interpretation of them. It provides an overview of the most commonly visited locations, the types of works favoured and the reception both of antiquity and sculptures and paintings from the Quattrocento to the Settecento. A study of four connoisseurs who commissionned drawings shows their influence on the pensionnaires’ work and allows other uses of drawn copies to be defined. Finally the conservation and circulation of drawings as material evidence of the relations between pensionnaires and those close to the Academy is examined. These confirm the role as a model assumed by some and the functions of the copy beyond an artist’s time as a student in Rome
Joly, Morwena. "La polémique anatomique dans les arts visuels français du XVIIIe siècle ou l'imaginaire de l'intérieur du vivant". Paris 1, 2005. http://www.theses.fr/2005PA010653.
Texto completo da fonteBedard, Sylvain. "Les académies dans l'art français au XVIIe siècle (1630-1720)". Paris 4, 1999. http://www.theses.fr/1999PA040064.
Texto completo da fonteMarty, Pierre. "Louis de Mondran (1699-1792) et les arts, parcours d’un homme influent entre Toulouse et Paris". Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP054.
Texto completo da fonteThis thesis centers on the life and career of Louis de Mondran (Seysses, 1699 – Toulouse, 1792). Mondran was an art amateur, urbanist, and member of Toulouse’s Académie royale de peinture, sculpture et architecture, of which he was one of the founders. This work is completed by a critical edition of Mondran’s memoirs, as well as of the Mémoires pour servir à l’histoire de l’Académie royale de peinture, sculpture et architecture
Salama, Benjamin. "Gabriel François Doyen (1726-1806), peintre du roi". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL007.
Texto completo da fonteAs one of main pioneer in the regeneration movement of history painting in the second half of the eighteenth century, Gabriel François Doyen (1726-1806) must undoubtedly be considered one of the most important artists of his generation. Student of Carle Vanloo and then at the École royale des élèves protégés, he is illustrated with a first great masterpiece presented at the Salon of 1759, La mort de Virginie, which made him consider by critics as one of the new hopes of the renewal of French painting. His glory culminates with a great religious command, Le Miracle des Ardents exposed to the Salon of 1767 and remained famous thanks to a long criticism that Diderot dedicated to him, in which he contrasted the powerful lyric style of the artist like Vien, announcer of neoclassical aesthetics. He was in charged with important royal commands in the 1770s, appreciated for his powerful poetic works inspired by the Iliad, Doyen eventually lost the public 's favor in the 1780s, at the very same moment when the generation of David is needed . Under the French Revolution, the artist will be in charged with important functions within the Comission des monuements and will work for the preservation of French heritage alongside Alexandre Lenoir, his former student. In 1792, he finally chose to go to Russia to complete his career ; he held the position of professor at the Imperial Academy of Fine Arts in St. Petersburg, but also the rank of painter of the Empress Catherine II and his son Paul I
Guilois, Bruno. "La communauté des peintres et sculpteurs parisiens : de la corporation à l’Académie de Saint-Luc". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL098.
Texto completo da fonteThe community of Parisian master painters and sculptors went through important evolutions between the 17th and 18th centuries. The creation of the Royal Academy in 1648 corresponds to a time of upheaval: the old and the new profession then came together and tried to coexist within the same structure. In the late 17th century, the population of the maîtrise increased and the list of its members as well as its statutes were published, in an overall re-ordering of the community. Thus, in 1705, the guild was strong in numbers and well-organised when it obtained a declaration from Louis XIV allowing it to open a drawing school based on live models : the brand-new Academy of St Luke became established in the artistic landscape of the early 18th century. It purchased new premises on rue du Haut-Moulin-en-la-Cité. From there, it significantly altered its statutes, giving an important role to a body of artists who was put in charge of teaching within its school. In the years 1750 to 1775, things moved faster for the Academy of St Luke. Several well-attended exhibitions put members of the Academy of St Luke on the map and involved the small academy in mid-18th century artistic debates. The improvement in the life-drawing school in the years 1765-1775 led to an even better recognized status for artists within the community. Over more than a century, this spectacular evolution shows the remarkable adaptation of the old guild, which thus managed to integrate its academic functioning to the hierarchical organization of a professional community
Guichard, Charlotte. "Les amateurs d'art à Paris dans la seconde moitié du XVIIIe siècle". Paris 1, 2005. http://www.theses.fr/2005PA010617.
Texto completo da fontezhu, cui. "Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)". Thèse, 2012. http://hdl.handle.net/1866/8412.
Texto completo da fonteThe painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687. Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time. The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.
Zhu, Cui. "Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)". Thèse, 2012. http://hdl.handle.net/1866/8412.
Texto completo da fonteThe painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687. Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time. The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.
Pichet, Isabelle. "Expographie, critique et opinion : les discursivités du Salon de l'Académie de Paris (1750-1789)". Thèse, 2009. http://www.archipel.uqam.ca/5476/1/D1890.pdf.
Texto completo da fonte