Teses / dissertações sobre o tema "Catalogues, 1924"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 46 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Catalogues, 1924".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja as teses / dissertações das mais diversas áreas científicas e compile uma bibliografia correta.
Baby, Vincent. "Le système Molnar : (1946-1976)". Paris 4, 2003. http://www.theses.fr/2003PA040247.
Texto completo da fonteVera Molnar was born in Budapest (Hungary) in 1924. She pursued studies at the Budapest Fine Arts School, where she obtained her diploma in 1947 as an Art History and Aesthetics Professor. During the same year, she migrated to France, along with François Molnar, who would later become her partner in life as well as in creation. They both sttled down in Paris and made it home. Our study seeks to explore Vera Molnar's works in the first years of her creation, during wich time none of them had been sold or put on exhibition. It is during this period that the artist developped modalities of a type of experimental and radical plastic research belonging to the so-called realm of "constructed Art", which can be described even more precisely as "systematic geometrical abstraction" Our investigation consisted in disclosing a large cross-section of Vera Molnar's works during this thirty-year period, in cataloging them, in establishing a hierarchy among them based on chronological divisions ans coherent formal choices, and thereafter in analyzing the modalities of the systems' functioning worked out by the artist. We established a typology responding to three main constructive axes : the universal laws of composition and mathematical laws, the invention and use of the "imaginary machine", the use of tje computer , as early as 1968. Finally, by introducing these works "backward", so to say, in art history, we carried out a theoritical work of re-contextualization aimed at evaluating and situating Vera Molnar' research within the context of artistic movements known as "conceptual" or "minimalist"
Deichmann, Johan Reinder. "Die werk van Alexis Preller, 1934-1928, en 'n catalogue raisonné". Diss., University of Pretoria, 1986. http://hdl.handle.net/2263/57948.
Texto completo da fonteAlexis Preller was born in Pretoria on 6 September 1911 where he died on 13 December 1975. He was the youngest of the five children of Olivia Maria Sandenberg and Mauritz Herman Otto Preller, a cousin of the well known Afrikaner historian and activist for Afrikaans, Gustav Preller. During his school years at the Pretoria Boys' High School, Preller was actively interested in the art of writing and drama. After completing his school education he worked for the City Council of Pretoria. In 1932 he made friends with Norman Eaton who encouraged him to go to Great Britain in order to study art and train as an artist. In 1933 he resigned the position he had held in the City Council of Pretoria and in the following year he left for Great Britain where he met J.H. Pierneef. During his stay in Great Britain he attended the westminster School of Art under Mark Gertler. On his return to Pretoria in 1935 he held his first one man exhibition. From the start it was obvious from his works that colour would be an important element in his work. Initially he was strongly influenced by Van Gogh and Gauguin. In 1937 he left for France where he stayed in Monte Carlo. On his return to South Africa in 1938 he joined the New Group and participated in their first exhibition. After this he and Truter travelled to Swaziland. In 1939 he travelled to the then Belgian Congo (Zaire) which had a most stimulating effect on his art. He returned with numerous ideas, especially the "urn head" (ritual misshapen head of Congo children) which occurred in his work immediately and over and over again in his ensuing work. During the Second World War (1939- 1945) Preller joined the war effort by enlisting in the South African Medical Corps in 1940. In 1941 he was sent to Egypt where he served in the 14th Field Ambulance unit. In 1942 he was taken prisoner of war and sent to Italy. After negotiations with the Red Cross he was repatriated to South Africa in 1943. On his return to his fatherland in 1944, he held an exhibition of his work in Johannesburg. In these paintings fresh ideas were presented. Africa-visions and war impressions converged on his canvasses. In the same year his first studio, Ygdrasil, was built according to designs drawn up by Norman Eaton. On his next visit to Europe in 1946 he spent two months studying the collections of the large art museums in London and Paris. In the Louvre he studied classical Greek sculpture. In 1947 Preller sold his studio and left for the Seychelles. On his return from the Seychelles Preller held exhibitions in Pretoria and Johannesburg in which shell and fish motives as well as Christ heads appeared. Through his use of colour and with the influence of indigenous art in his work, he brought an awareness to South Africa that an European approach cannot be summarily transposed to the South African scene.
Dissertation (MA)--University of Pretoria, 1986.
Visual Arts
MA
Unrestricted
Gauthier, Ninon. "Marcel Barbeau : échos et métamorphoses : catalogue raisonné des peintures (1944-1971) et catalogue raisonné des sculptures (1944-2000)". Paris 4, 2004. http://www.theses.fr/2003PA040057.
Texto completo da fonteThis comprehensive catalogue describes, illustrate, historicizes and comment each work, showing its relationship with the artist's own production and those of his contemporaries. The main commentary, the introduction, the complementary notes and the chronology situate the artist's oeuvre with regards to its sources abs relationship to contemporary works. The chapter on the critiques as well as the annexes. Sources bring complementary information regarding their reception. This thesis shows Barbeau's contribution to Automatism, a Quebec abstract expressionist movement. Barbeau was a pioneer of abstraction in Canada in the mid-forties. With this ever-changing style, Barbeau produced a crossbred work, related to very diversified movements as well as to productions in phonic poetry, music and dance. This study takes into account these transient encounters, showing the permanency of surrealistic, Dadaist and transdisciplinary references within his work
Gilbert, Eva. "Catalogue raisonné du peintre-graveur André Derain, 1880-1954". Paris 4, 1985. http://www.theses.fr/1985PA040129.
Texto completo da fonteToussaint, Évelyne. "Anne et Patrick Poirier : catalogue raisonné, généalogie d'une genèse du pire". Amiens, 2002. http://www.theses.fr/2002AMIE0009.
Texto completo da fonteLe, Pelley Fonteny Monique. "Leon-auguste lhermitte, sa vie, son oeuvre. Catalogue des peintures, pastels, dessins et gravures". Paris 4, 1986. http://www.theses.fr/1986PA040289.
Texto completo da fonteLeon lhermitte, french painter, pastellist, draughtsman and printmaker, was born in mont-saint-pere in 1844 and died in paris in 1925. A student of lecoq de boisbaudran, he perpetuated certain aspects of the barbizon school, of corot, and of breton. From 1864 to 1889 he exhibited religious subjects and depictions of peasant life at the salon des artistes francais. His representations of peasant life became predominant after the success of his la paye des moissonneurs, and following the death of bastien-lepage. Supported by his friend cazin, he became a member of the societe nationale des beaux-arts in 1890 and participated in its annual exhibitions until his death. Known at the beginning of his career for his charcoal drawings and hailed as one of the masters of the exhibition "blanc et noir", lhermitte abandoned this medium in 1886 for pastel, very much in vogue at the end of the 19th century. Throughout his career, the artist received numerous honors, distinctions, and official commissions. Celebrated during his lifetime because his art was supported by the salon jury and by the public, lhermitte took advantage of the success of realism and the rural themes developed principally by millet, and from the image that successive governments wanted to give to the peasant, symbol of work and family values. He was one of the representatives of the official art of the third republique, which by its anecdotal qualities and attention to detail provides a knowledge of the material existence and daily rustic life of rural france before the era of industrialization. Lhermitte participated in the grand current of naturalism of the 1880s that predominated in numerous european countries during the period. If his pictorial production lacks quality in certain respects, his charcoals and certain of his pastels can be appreciated anew for their aesthetic quality
Oppikofer-Brutsch, Françoise. "Gaston Chaissac : totems, masques, pierres et objets enluminés". Paris 1, 1990. http://www.theses.fr/1990PA010601.
Texto completo da fonteLe, Thanh Duc. "Georges Mathieu (1921-2012) : catalogue et étude de son œuvre". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080130.
Texto completo da fonteTraditional french painter georges mathieu is the french father of lyrical abstraction. Born in 1921, he enjoyed great fame in the years 1950-1980 and continued his many activities until his death in 2012. this is the adventure of this painter, alternately revered and controversial, for which we must conduct chronological study of the painted work. the establishment of the comprehensive catalog raisonné serves as a prerequisite for aesthetic analysis of his work. The media image of the painter and the character is very well known, but it is sketchy and hides her bulimia artistic productions, energy-time-space-speed, his vehemence in performance, his defense of traditional arts and crafts french and commitment to rehabilitate and safeguard techniques and ancestral know-how as part of a heritage policy. In the euphoric context of post-war and liberation, georges mathieu, after a degree in philosophy and english, decided to become a painter without initial training in fine arts. He chose the pictorial record of the non-figurative art, his gestures and signs. he explains this choice by a desire to break with mediocrity, to stave off a degrading materiality, and recover freedom usurped. mathieu has mastered multiple facets of art: writer, layout artist, sculptor, architect. This painter, among a constellation of artists, gallerists, critics, has become a spokesman vehement non geometric abstraction around artists such as soulages, wols and hartung. After i graduated in 1996 at the national school of fine arts in hanoi, traditional lacquer option, i followed for five years an academic teaching visual arts (in french tradition since my country is a former french colony) and a master of development, still in the plastic arts. In 2005 i joined the national education as a teacher at the school of fine arts in ho chi minh city (former saigon), open city that seemed to me to western influences of modern art or contemporary. I moved to france in 2008 and i decided to direct my thesis to a problematic centered on the non-figurative painting, so abstract, but not geometric, lyrical inspiration, informal or expressionist postwar. Georges Mathieu benefiting, to date, no catalog raisonné, i decided to call the thesis '' georges mathieu, catalog and study of his work. '' In 1947, mathieu aged 25, joined paris. he met famous painters wols, hartung, soulages, hantaï, atlan, zao wou-ki, vieira da silva, manessier, poliakoff and others. if Mathieu is the inventor of lyrical abstraction is also because qu'angliciste, who will make known american painters such as pollock, tobey, de kooning. director of public relations and quarterly editor united states lines paris review on behalf of a shipping company. it writes articles with the contribution of intellectuals and illustrious artists such as john cage, pierre boulez, frank lloyd wright, claude levis-strauss lupasco, roland barthes, carl jung. meanwhile, Mathieu continued to paint, and sells very early his first paintings. outside the partisan approach, 60 years after his first picture, two years after his death, we have enough distance to see the extent of his repertoire and his pictorial innovations. besides painting, mathieu enthusiasm for graphic arts, decorative and craft art. in this extension there is a growing interest for the development of a bold cultural policy, notably through his writings. Today we know less Georges Mathieu, while each held in the 1970s a piece of 10 francs in his hand, and saw the logo 2. Antenna is time to rehabilitate the painter and give him place in the pantheon of painters abstraction. [...]
Le, Thanh Duc. "Georges Mathieu (1921-2012) : catalogue et étude de son œuvre". Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080130.
Texto completo da fonteTraditional french painter georges mathieu is the french father of lyrical abstraction. Born in 1921, he enjoyed great fame in the years 1950-1980 and continued his many activities until his death in 2012. this is the adventure of this painter, alternately revered and controversial, for which we must conduct chronological study of the painted work. the establishment of the comprehensive catalog raisonné serves as a prerequisite for aesthetic analysis of his work. The media image of the painter and the character is very well known, but it is sketchy and hides her bulimia artistic productions, energy-time-space-speed, his vehemence in performance, his defense of traditional arts and crafts french and commitment to rehabilitate and safeguard techniques and ancestral know-how as part of a heritage policy. In the euphoric context of post-war and liberation, georges mathieu, after a degree in philosophy and english, decided to become a painter without initial training in fine arts. He chose the pictorial record of the non-figurative art, his gestures and signs. he explains this choice by a desire to break with mediocrity, to stave off a degrading materiality, and recover freedom usurped. mathieu has mastered multiple facets of art: writer, layout artist, sculptor, architect. This painter, among a constellation of artists, gallerists, critics, has become a spokesman vehement non geometric abstraction around artists such as soulages, wols and hartung. After i graduated in 1996 at the national school of fine arts in hanoi, traditional lacquer option, i followed for five years an academic teaching visual arts (in french tradition since my country is a former french colony) and a master of development, still in the plastic arts. In 2005 i joined the national education as a teacher at the school of fine arts in ho chi minh city (former saigon), open city that seemed to me to western influences of modern art or contemporary. I moved to france in 2008 and i decided to direct my thesis to a problematic centered on the non-figurative painting, so abstract, but not geometric, lyrical inspiration, informal or expressionist postwar. Georges Mathieu benefiting, to date, no catalog raisonné, i decided to call the thesis '' georges mathieu, catalog and study of his work. '' In 1947, mathieu aged 25, joined paris. he met famous painters wols, hartung, soulages, hantaï, atlan, zao wou-ki, vieira da silva, manessier, poliakoff and others. if Mathieu is the inventor of lyrical abstraction is also because qu'angliciste, who will make known american painters such as pollock, tobey, de kooning. director of public relations and quarterly editor united states lines paris review on behalf of a shipping company. it writes articles with the contribution of intellectuals and illustrious artists such as john cage, pierre boulez, frank lloyd wright, claude levis-strauss lupasco, roland barthes, carl jung. meanwhile, Mathieu continued to paint, and sells very early his first paintings. outside the partisan approach, 60 years after his first picture, two years after his death, we have enough distance to see the extent of his repertoire and his pictorial innovations. besides painting, mathieu enthusiasm for graphic arts, decorative and craft art. in this extension there is a growing interest for the development of a bold cultural policy, notably through his writings. Today we know less Georges Mathieu, while each held in the 1970s a piece of 10 francs in his hand, and saw the logo 2. Antenna is time to rehabilitate the painter and give him place in the pantheon of painters abstraction. [...]
College, of Law University of Arizona. "Law Catalog, 1991-1994". College of Law, University of Arizona (Tucson, AZ), 1991. http://hdl.handle.net/10150/612034.
Texto completo da fonteCollege, of Law University of Arizona. "Law Catalog, 1994-1997". College of Law, University of Arizona (Tucson, AZ), 1995. http://hdl.handle.net/10150/612035.
Texto completo da fonteRumley, Peter Thomas James. "Sir William Coldstream : catalogue raisonne 1926-1983 and artistic career 1908-1945". Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339384.
Texto completo da fonteJumeau-Lafond, Jean-David. "Carlos Schwabe, peintre symboliste (1866-1926) : la vie et l'oeuvre : essai et catalogue". Clermont-Ferrand 2, 1994. http://www.theses.fr/1994CLF20061.
Texto completo da fonteEvers, Cécile. "Recherches sur les ateliers officiels de sculpture à Rome sous les Antonins: les portraits d'empereurs". Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212520.
Texto completo da fonteSaigne, Guy. "Léon Bonnat (1833-1922) portraitiste : Catalogue raisonné des portraits peints, dessinés et gravés". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040202.
Texto completo da fonteLéon Bonnat (1833-1922) received artistic training in Spain, then in the Parisian studio of the painter Léon Cogniet, and finally in Rome. His early large religious pictures quickly brought him success, fame, and State commissions, while his Italian and Orientalist genres scenes were purchased by private patrons. Around the middle of the 1870s he made a definitive turn toward portrait painting that became immensely successful and made him, according to his contemporaries, one of the greatest portraitists of the wealthy and ruling class in France or abroad, particularly in the United States, before the First World War. He practiced in this genre until the end of his life, leaving behind - except for the portraits of his artist friends and members of his family - an exceptional gallery of personalities of the time, primarily aristocrats, politicians, and French and foreign grands bourgeois, including several iconic works that mark the collective memory
Whittle, David. "Bruce Montgomery (1921-1978) : a biography with a catalogue of the musical works". Thesis, University of Nottingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285461.
Texto completo da fonteGatineau-Helbronner, Evelyne. "Catalogue raisonné des sculptures du XIXe siècle (1800-1914) des musées de Bordeaux". Paris 4, 2003. http://www.theses.fr/2003PA040235.
Texto completo da fonteThe vision of the collection of Bordeaux seems kaleidoscopic. Even after the completion of the Museum in 1881, the sculptures were often moved. That statuary art will not be rediscovered before the seventies. However, the collection has been constituted by a logical way, throughout the National deposits, the purchases realized thanks to the local artistics societies, the donations and legacies or the municipal contribution Among the artists appear local sculptors. Many artists of Bordeaux have worked in others genres : ornemanist sculpture, religious or funerary art. By their side, we notice famous names : Dalou, Carpeaux, or Rodin. The collections of the Museum contain the models of public monuments, including the development projects of the place des Quinconces. From antique inspiration to decorative art, by the way of genre scenes and sculpture of animals, from neoclacissism to picturesque realism, the whole gathers together the genres and the styles expressed during the 19th century
Jamet, Stéphanie. "Catalogue raisonné de l'oeuvre sculpté de Bernard Pagès (1966-1984) : entre assemblage et fragmentation". Paris 4, 2001. http://www.theses.fr/2001PA040212.
Texto completo da fonteThis study is a monograph with a catalog raisonné of Bernard Pagès' sculpture created between 1966 and 1984. It bases on the author's personal interviews with the artist and people who followed and supported Pagès during this period. .
Favardin, Patrick. "Les habitations collectives à bon marché édifiées à Paris entre 1894 et 1914 : (catalogue raisonné)". Paris 10, 1985. http://www.theses.fr/1985PA100014.
Texto completo da fonteHuguet, Charlotte. "Catalogue raisonné de l’œuvre de Franz Erhard Walther de ses premiers travaux en 1954 à ce jour". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040089.
Texto completo da fonteThe objective of this thesis is to propose an exhaustive study of the work of the german contemporary artist Franz Erhard Walther (1939, Fulda - ), as well as the catalogue raisonné of his work. There is indeed since many years an imperative need for such a comprehensive catalogue, given the colossal production of Walther. Although his work plays a prominent role in the Art History of the second half of the XXth century, it remains little-known and is still subject of some confusion. This body of work, mainly characterized by the use of sewing as technique and tissue as material, and whose enormity wouldn't have been possible without the collaboration of the artist's first wife, Johanna Frieß, finds its specificity in the concept of Handlung that Walther developed. This study includes thus the first actual catalogue raisonné of Franz Erhard Walter, from his first-ever works of 1954 until now, as well as a specific study of every group of works, putting it in the context of Art History
Binks, Adam. "The development of Kenneth Leighton's musical style from 1929 to 1960 and a complete catalogue of his compositions from 1929 to 1988". Thesis, University of Edinburgh, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537913.
Texto completo da fonteJarrett, Alex. "Pierr Villete (1926 - 98) : His life and works: Including a complete descriptive catalogue of his works". Thesis, Bangor University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531050.
Texto completo da fonteTrew, Johanne. "The Rodolphe Mathieu Collection at the National Library of Canada : an annotated catalogue". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63839.
Texto completo da fonteMoraes, Laura do Nascimento Rótolo. "Catálogo analítico descritivo dos jornais de Florianópolis 1894-1914 :: o jornal como fonte histórica /". Florianópolis, SC, 1985. http://repositorio.ufsc.br/xmlui/handle/123456789/75228.
Texto completo da fonteMade available in DSpace on 2012-10-15T23:21:04Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T15:14:04Z : No. of bitstreams: 1 147541.pdf: 6020904 bytes, checksum: 4fa2d49d3241713ddeee3880f70da538 (MD5)
Beauregard, Annie. "Les catalogues commerciaux comme catalyseur populaire de consommation : l'exemple du mobilier de cuisine et de salle à manger, 1920-1960". Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25256.
Texto completo da fonteLeibovici, Franck. "Henri Michaux : Voir (une enquête) : prolégomènes à un catalogue raisonné". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10171.
Texto completo da fonteFor more than ten years, the author has been taking part to the catalogue raisonné of Henri Michaux. He uses this field experience to redescribe, through a new light, the experience of seeing (how to look at a Michaux drawing ?), and the learning it implies. Various methods are mobilized to explicit the ecology of an artwork and its modes of functionning : poetics, aesthetics, cognitive sciences, science studies, anthropology of writing, ethnométhodology. Back and forth are constantly made between texts, paintings, and recording situations of the drawings in the context of the catalogue raisonné (various types of « regardement »). Concrete and everyday situations, and the methodological problems they generate, are the starting points of the inquiry, et constitute the empirical ground for the theoretical construct which follows. Theory is thus, here, never considered as an outside model, that one would apply on a matter, it is a mode of reconception, from the inside, of a perception making sailient, from the better perspective, the relevant features of an ecosystem.The genuine question « how to look at a Michaux drawing ? » (chapter I) is unfold on different levels. First, by using texts and drawings ressources - « What is a form ? » (chapter II), « A theory of Image » (chapter III), « Space » (chapter IV). Then, by studying different types of usually mobilized seeing – « Constructed visions » (chapter V) – and different methodologies of classification – « Notion of series » (chapter VI)
Jones, Claire Louise. "Between commerce and professionalism : The changing form, role and significance of the medical trade catalogue in Britain, 1880-1914". Thesis, University of Leeds, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531620.
Texto completo da fonteLegrand, François. "Le paradis perdu et l'esprit romantique et Caïn et Abel dans l'art du XIXème siècle, [1770-1925] : catalogue raisonné". Paris 4, 1996. http://www.theses.fr/1995PA040257.
Texto completo da fonteHolt, Alexia. "Reviewing Chanel : a catalogue raisonné and critical survey of the dress designs by Chanel published in British and French Vogue, 1916-1929". Thesis, University of Glasgow, 1997. http://theses.gla.ac.uk/5391/.
Texto completo da fonteBénichou, Anne. "La collection comme stratégie artistique contemporaine : les oeuvres en forme d'accumulation, d'inventaire, de classification et de narration". Rennes 2, 2001. http://www.theses.fr/2001REN20037.
Texto completo da fonteSince the sixties, several artists have created works in the form of a collection of various objects or documents. Collecting, and all that it implies, thus become the principles of their artistic practice to the detriment of plastic work and traditionnal skills. However, these works take on such different forms and aesthetics that we may at first hesitate to approach them similarly. Thus, it is a matter of identifying their common stakes and evaluating their operation that took place over the last four decades. Four lines of reflection are considered. First, the relationship that these works establish with the museum is looked at through the principal exhibitions that dealt with the subject. Second, based on a large corpus of work, an analysis is provided of the changes in the art's semiotic nature that is induced by these practices, while identifying their specificity regarding other forms of appropriation. Third, les "inventaires des objets ayant appartenu à. . . , which Christian Boltanski created in 1973 and 1974 and continued elaborating in the 1990s, gives rise to a requestioning of the modern concept of the artist and its core values, such as authenticity, originality and subjectivity. And finally, Vera Frenkel's series entitled "the secret life of Cornelia Lumsden : a remarkable story", put together between 1978 and 1986, allows an analysis of the artis-collector's putting into question disciplines of history, in this case art history. It seems that through their practices, these artists seek to reappropriate a certain degree of responsibility with regards to their works being inscribed in history and their modes of perpetuation
De, Coster Camille. "Catalogue raisonné des citations littéraires figurant dans l’œuvre d’Emile Gallé (écrits et productions artistiques)". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040032.
Texto completo da fonteThis research is dedicated to the works of Emile Gallé, leader of the Ecole de Nancy and an artist whose creations belong in Art Nouveau's major achievements. He was also very fond of literature and it is this aspect of his personality, which had a major impact on his works, that has been here focused on. This study is mostly based on Gallé's most tangible account of his interest for words : the many quotations he himself carved on his creations (in glass, wood or china) or referred to in his own writings. Their importance lies in the fact that they are truly part of his creative process since Gallé would sometimes create a piece after being enthralled by some literary passage he had read. This is the reason why it felt necessary to list exhaustively every quotation the artist chose to extract from 19th century literary works and present them as an annotated catalogue. This inventory is followed by a thematic classification highlighting the artist's favourite topics. The main themes here depicted are then discussed and confronted in the conclusion. The catalogue may be at the heart of this study but it also seemed inconceivable not to mention Emile Gallé's life so as to understand the main influences ruling his artistic and literary sensitivity. The first part of this research thus deliberately takes on a biographic aspect
Barrantes, Paula Elizabeth de Maria 1970. "Catalogação do acervo artístico da Catedral Metropolitana de Campinas : pinturas, esculturas, talha e detalhes arquitetônicos de 1840 a 1923". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279649.
Texto completo da fonteDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-25T02:53:32Z (GMT). No. of bitstreams: 1 Barrantes_PaulaElizabethdeMaria_M.pdf: 24161820 bytes, checksum: 91cfc0e63d87ec1bc11e9539072250a2 (MD5) Previous issue date: 2014
Resumo: A Catedral de Campinas é um templo com múltiplos usos e em seu espaço abriga o Museu Arquidiocesano de Campinas e o Museu da Irmandade do Santíssimo Sacramento. Tanto a Catedral como ambos os museus apresentam vários problemas relacionados à identificação de seu acervo, sendo a grande maioria das obras com procedência desconhecida. O objetivo desta pesquisa foi o de catalogar o acervo da Catedral Metropolitana Nossa Senhora da Conceição de Campinas, de 1840 à 1923, abrangendo imagens sacras, pinturas, detalhes arquitetônicos e a obra de talha. Foi possível rastrear e catalogar todo o acervo através de documentos primários e comparações iconográficas. Percebeu-se que, quanto à catalogação de imagens, a correta amplitude da pesquisa deveria partir de 1774 à 1923, uma vez que enquanto a Matriz Nova era construída, formava-se o acervo de imagens na Matriz Velha, mas com a consciência exata de que o acervo seria passado à nova matriz após sua inauguração. Foi possível também descobrir a autoria e o histórico das pinturas originais presentes na inauguração do templo em 1883, bem como descobrir o histórico e a autoria dos evangelistas e apóstolos da fachada, informações inéditas até o momento. Foram desvendadas a origem das estátuas externas do templo e a pesquisa em fontes primárias inéditas possibilitou encontrar equívocos na descrição do atual catálogo do acervo. A pesquisa da obra de talha, encontrou informações que fazem possível hoje, atribuir à quatro entalhadores o conjunto total da talha: Vitoriano dos Anjos, Bernardino de Sena, Raffaelo de Rosa e Marino Del Favero, os dois últimos italianos. Também foi possível atribuir obras a cada um, cuja autoria, até o momento, era desconhecida. Em sua abrangência, a pesquisa possibilitou desvendar o histórico das fachadas do templo e elucidar diversos acontecimentos como os acidentes durante o período de construção, os arquitetos participantes bem como suas contribuições ao templo, sistemas construtivos e materiais utilizados. Dentro ainda da arquitetura, também descobriu-se todos os elementos modificados e construídos na reforma de 1923. Além do catálogo das obras e da arquitetura, como complemento, foi criado um dicionário de todos os artistas que participaram do acervo, com informações biográficas. Esta catalogação deve servir então à duas propostas, como fonte de pesquisa acadêmica e como utilidade prática no uso diário do acervo. Como conclusão, percebe-se que a história da construção do templo e do acervo é muito mais rica, cheia de detalhes e acontecimentos do que até então se conhecia, fazendo desta pesquisa uma referencia para futuros trabalhos relacionados ao seu acervo e sua história
Abstract: The Catedral Metropolitana de Campinas is a religious temple that houses the Museu Arquediocesano de Campinas and the Museu da Irmandade do Santíssimo Sacramento. Both museums and the Cathedral, present several problems regarding the correct identification of its art collection, with most of the art work of unknown origin. The objective of this research was to catalog the collection of the Catedral Metropolitana Nossa Senhora da Conceição de Campinas from 1840 to 1923. The collection includes sacred images, paintings, architectural details and carving works. This research made possible to trace and catalog the entire collection of the period thru analysis of primary documents and iconographic comparison. Regarding the image collection, the real amplitude of the research should comprehend the period from 1774 to 1923. As the New Church was being built, the collection of images was being formed at the Old Church, but with the certain that the collection would be transferred to the new site after its inauguration. It was also possible to discover the authorship and the history of the original paintings present at the inauguration of the temple in 1883, as well as the authorship and history of the Evangelists and Apostles statues at the façade. The origin of the external statues of the temple was unveiled and the research on unprecedented primary sources made possible to find misconceptions at the description of the current catalog of the collection. The research of the carving works revealed information that contributed to attribute four woodworkers to the whole carving work at the church: Vitoriano dos Anjos, Bernardino de Sena, Raffaelo de Rosa and Marino Del Favero, the last two Italians. It was also possible to attribute to each one, other artworks, which the authorship was unknown until now. Due to the wide scope of the research, it was possible to unveil the history of the façade construction and to elucidate many of the related events such as the accidents, the architects and their contribution on the project and construction of the temple as well as constructive systems and used materials. Still in the architecture scope, it was disclosed all the modified and built elements at the renovation in 1923. Aside the catalog of the collection, as a complement, it was created a dictionary of all the participating artists of the collection with bio info. The cataloging of the collection intend to attend two distinct proposes, as an academic resource and as a daily reference for the museums. In order to come to a conclusion, one can easily realize that the history of the construction of the temple and the gathering of its collection is far richer than could be imagined making this research a starting point and a solid anchor for future researches
Mestrado
Historia da Arte
Mestra em História
Prudon, Montserrat. "Les mouvements d'avant-garde entre Barcelone et Madrid (esthétique et idéologie) (1929-1936)". Paris 4, 1992. http://www.theses.fr/1991PA040223.
Texto completo da fonteThis thesis proposes us to study the various trends which (from europe and especially from paris) made their way into the iberian peninsula, thus generating a flow of exchanges between the two cultural capitals: barcelona and madrid. The dates which determine the period can be accounted for by their historical and cultural significants (universal exibition and civil war). Several unpublished works (essay, correspondance) made it possible to focus on the question in a perspective both aesthetic and ideological. In catalonia, the reaction to avant-garde trends aroused an awarness close to nationalism and determined the attitude of literary and artistic circles, a phenomenon echoed by the centralizing reaction of the capital. The events tackled here are predominantly literary. However, they do not preclude attention to artistic reviews or to other aspects of plastic or musical creation (such as influence of cubism or surrealism and the problematic penetration of serial music). The plural approach adopted in this research combines the perusal of the press, the critical study of text and the analysis of works of art. The resulting conclusions clearly show that, if barcelona did act as the core of all these avant-gardes, the confrontation with new aesthetics conditionned an ideological stand and heralded the dawn of catalanism
Dabat, Amandine. "Hàm Nghi (1871-1944) : empereur en exil, artiste à Alger". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040138.
Texto completo da fonteHàm Nghi (1871-1944), patriotic emperor according to Vietnamese historiography, victim or actor of the resistance against colonisation according to French historians, was sent into exile in Algiers in order to end the movement called Cần Vương. Deported when he was eighteen years old, pawn on the political chessboard of Indochina, he was considered by some French authorities to be an influential political figure. He was kept under surveillance his entire life and was never allowed contact with Indochina. Hàm Nghi, who was henceforth called “prince of Annam”, nevertheless established friendships with Vietnamese students of the Algiers highschool, and with officiers and missionnaries who travelled between Indochina, Algeria and France. These intermediaries helped him to maintain a connection with Indochina. Hàm Nghi dedicated his life to art. He became a painter and a sculptor. He was the student of the orientalist painter Marius Reynaud and of the sculptor Auguste Rodin, and he associated with many artists of his day. Previously the Vietnamese and French national archives informed us of the administrative aspects of the emperor’s exile, revealing only the point of view of the French government. Today the private archives of Hàm Nghi’s collection bring us the personal view of the emperor on his life. These documents enable us to write a biography and a catalogueraisonné
Bellver, Poissenot Laura. "La editorial Montaner y Simón (1868-1981). El esplendor del libro industrial ilustrado (1868-1922)". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/404148.
Texto completo da fonteMontaner y Simón, which initiated its activity in the middle of the 19th century, was pioneering in the publication of luxurious works in monumental format of scientific and historical character, great classics from the universal literature, and contemporary narratives. All were edited with maximum care in design and utilizing the latest technological advances. Their catalogue possessed the most prestigious national authors of the epoch and translated the foreign literature that the public of Castilian language was longing to know. From 1868 through the 20th century, Montaner y Simón was considered to be one of the major publishing houses in Barcelona. It gained the recognition of all the intellectual, social and political estates, here and beyond Spain’s borders. Montaner y Simón was undoubtedly one of the most influential publishing houses of our cultural history; the firm anticipated trends and was innovative in form and content. Montaner y Simón made great contributions to the entire artistic and literary wealth that was marking the currents of the rest of Europe.
Cimbolaitienė, Egidija. "Elektroninių paslaugų plėtra akademinių bibliotekų tinkle". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20060317_142918-19294.
Texto completo da fonteRubí, i. Casals Maria Gemma. "El món de la politica en la Catalunya urbana de la restauració : el cas d'una ciutat industrial : Manresa, 1875-1923". Paris, EHESS, 2003. http://www.theses.fr/2003EHES0060.
Texto completo da fonteThe main purpose of this doctoral theirs is toreflert on the world of politics and power in a society that was changing at the turn of 19th century. This involves analysing the transformation of politics in a crucial transition period from elite to mass politics. It also entails delimiting the breaks and continuities and defining the elements of this process of political change. This, it ultimately means examinig political modernity through a care of study and specifying how it came into being and what led to it. The care chosen is the town of Manresa (Catalonia, Spain), the evolution of the political life of which is carefully analysed through the historical period of the bourbon restoration from 1875 to 1923. The research methodology used is interdisciplinary, since it is a combination of various scientific approaches: those of the political scientist, the sociologist and the anthropologist throughant a diachronic chair of events and structural changes. At the same time, it makes it possible to mix the methods used in the social sciences, which contemplate the perspective of theorical models of change, with those of history, based on the collection of factual information that is interpreted in the light of the aforementioned paradigms
Gaudenzi, Enrico. "Il cinema italiano e francese sulla prima guerra mondiale : una filmografia documentata (1914-2013)". Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100092.
Texto completo da fonteThe aim of my thesis was to create a catalog of fiction films related to the First World War produced in Italy and France between 1914 and 2013. Methodologically, 1 worked on a variety of sources (movie collections, specialized magazines, rating and direct viewing of picture show), depending on the availability of materials which came to us. I have tried to propose an analytical investigation that also includes movies concerning the war without showing it; I am well aware my work will be certainly incomplete but it tries to be the more comprehensive possible. I have devoted a special attention to the censorious intervention exercised by the government, particularly until the early Sixties, indeed those years political censorship was very strong. In addition to the analysis of general censorship, I added that of prior one (in Italy 1945-65, in France 1945-61) and I found two similar attitudes but with different methods of intervention. Although the investigation is centered on the two countries, more importance will be given to the Italian CBSE instead of French one. The choice of comparison with France was influenced by several considerations; not least, the main point of the First World War has in both film and French public history even today. These factors have not been strange to the will to compare with the history of this country, considered as one of the most interesting. The evolution of fiction story has been put in relation with the political, cinematographic, and legislative and historiography background; I also tried to understand the film reception through two factors: the results of the box office and the opinions expressed in specialized magazines
Pernoud, Emmanuel. "Olivier Debré : les estampes et les livres illustrés (1945-1990)". Paris 1, 1991. http://www.theses.fr/1991PA010580.
Texto completo da fonteInitiated in 1945 and reaching 451 numbers at the end of 1990, the graphic work of Olivier Debré (born in 1920) has always seeked a "living sign" which has taken two different ways, a "figure sign" (since the end of the 40') and a "landscape sign" (since the beginning of the 60'). In Debré's work, print is characterized by material effects (aquatint) and colour variations (lithography) ; print is also a meeting place with poets and writers (more than 20 illustrated books). After an introduction, this thesis produce a catalogue reasoned with 4 parts : 1 etchings, aquatints and drypoints 2 lithographs and silkscreens 3 reproduction prints 4 covers and illustrations by photomechanical techniques
Martinetti, Sara. "« I never Write, I Just Do » : pratiques de l’écrit et enjeux théoriques du travail de Seth Siegelaub dans l’art conceptuel, le militantisme et l’érudition". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0051.
Texto completo da fonteSeth Siegelaub (1941, New York–2013, Basel) is a major figure in the history of art known to scholars for his seminal role in the exhibition, presentation and distribution of Conceptual Art. Often described as the shrewd impresario of four artists (Robert Barry, Joseph Kosuth, Douglas Huebler and Lawrence Weiner), his career seems to stop in 1972 when he turns his back on the art world, thereby seemingly confirming the failure of the political struggle of a whole generation. But what if this dropout—by a man who claimed he was “not an artist,” yet operated at the heart of the system—coincided with a translation of the conceptual methodology into other fields?An anthropological approach of Siegelaub’s expansive and varied writing activities allows us to retrace his career according to three “spheres of activity”: art, activism, and erudition. By conducting numerous interviews with the main protagonist and his collaborators, and consulting his extensive archives, we have been able to explore the key issues respective to each of these spheres. Siegelaub’s first sphere of activity encourages us to consider Conceptual Art as a literacy that expanded the everyday uses of writing in a hitherto unprecedented way. The second sphere shows the documentation center as a means of political resistance to capitalism and social transformation, and the third, via its parallel interest in textiles, reveals Siegelaub’s personal appropriation of the bibliography. Siegelaub does not so much change activities as move between polarized social worlds, whose practices and networks he interconnects via his writing.In 1969, he stated: “I am not a writer—I never write, I just do.” His relationship to writing is complex, all the more so as he has hardly “written” in the literal, theoretical, or journalistic sense. What did Siegelaub do with writing? To what extent did it enable the editor, publisher, documentalist, bibliographer and collector to act? Siegelaub experimented with various kinds of writings such as the exhibition-as-catalogue, the contract, or the bibliography, in some cases even reversing their purpose or function. His career touched on numerous theoretical problems, each domain in which he was active producing a “local” point of view: the Conceptual artists were interested in language and used documents to critique the work of art; Armand Mattelart, a leading sociologist who collaborated with Siegelaub, clarified the role of mass media in class struggles; and the nineteenth-century erudite scholar François-Xavier Michel pioneered a social approach to the history of textiles. Siegelaub’s career makes it possible to bring together various conceptions of writing developed across different disciplines, which had never been considered in terms of their reciprocal influences
Thonel, D'Orgeix Émilie de. "Évolution du dessin militaire à l'âge classique : esthétique et système de codification académique du dessin militaire vus à travers l'oeuvre des ingénieurs militaires royaux envoyés en Nouvelle-France à l'époque coloniale (1608-1759)". Doctoral thesis, Université Laval, 1994. http://hdl.handle.net/20.500.11794/28438.
Texto completo da fonteDelmont, Elizabeth Cheryl. "Catalogue raisonne of Maggie Laubser's work, 1900-1924". Thesis, 2015. http://hdl.handle.net/10539/17161.
Texto completo da fonteLangerman, Jorike. "Diek Grobler : an artists monograph with interactive catalogue". Diss., 2011. http://hdl.handle.net/10500/5138.
Texto completo da fonteArt History, Visual Arts & Musicology
M.A. (Art History)
Huguet, Charlotte. "Catalogue raisonné de l’oeuvre de Franz Erhard Walther de ses premiers travaux en 1954 à ce jour". Thesis, 2015. http://www.theses.fr/2015PA040089.
Texto completo da fonteThe objective of this thesis is to propose an exhaustive study of the work of the german contemporary artist Franz Erhard Walther (1939, Fulda - ), as well as the catalogue raisonné of his work. There is indeed since many years an imperative need for such a comprehensive catalogue, given the colossal production of Walther. Although his work plays a prominent role in the Art History of the second half of the XXth century, it remains little-known and is still subject of some confusion. This body of work, mainly characterized by the use of sewing as technique and tissue as material, and whose enormity wouldn't have been possible without the collaboration of the artist's first wife, Johanna Frieß, finds its specificity in the concept of Handlung that Walther developed. This study includes thus the first actual catalogue raisonné of Franz Erhard Walter, from his first-ever works of 1954 until now, as well as a specific study of every group of works, putting it in the context of Art History
Jerónimo, Ana Helena Marques Peixoto. "Coleção Luís Cangueiro : da esfera privada ao Museu da Música Mecânica : contributos para um estudo". Master's thesis, 2018. http://hdl.handle.net/10400.2/7362.
Texto completo da fonteThe Luís Cangueiro collection showcases more than six hundred mechanical music instruments dating from the late 18th century to the 1940s. It is comprised of music boxes, automatons, organs, organettes, mechanical pianos, phonographs and gramophones, as well as a collection of thousands of sound recordings, assorted documents and correlated objects. This collection of musical heritage had been leaving the private domain by means of a set of exhibitions that took place in various places in Portugal, until it became accessible to the public in 2016, with its installation in the Museum of Mechanical Music, built by the collector in his property located in Arraiados, Palmela. Considering the novelty of the collection in the national panorama of museums and private collecting, as well as its size and representation, we followed a methodology of qualitative research. We made, on the one hand, a catalogue of the collection to contribute to its documentation and study, and we analyzed the course of its formation and development until it was set in the museum, with the objective of understanding and reflecting on the importance of contemporary collecting practices in the context of heritage studies. The dissertation is organized into four chapters. The first one covers the theoretical scope of the research. The second presents the biography of the collector and the detailed study of the collection based on the cataloguing that we did which is included in the appendix. The third shows the circumstances prior to the process of being put and displayed in the museum. The fourth covers the foundation of the Museum of Mechanical Music, the installation of the collection and the centrality of the collector. The present research allowed to demonstrate how contemporary collector practices converge towards the preservation and enhancement of heritage and the perpetuation of the memory of societies.
Grobler, Elda. "Collections management practices at the Transvaal Museum, 1913-1964 : Anthropological, Archaeological and Historical". Thesis, 2006. http://hdl.handle.net/2263/24550.
Texto completo da fonteThesis (DPhil (Museology))--University of Pretoria, 2006.
Historical and Heritage Studies
unrestricted