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1
Baby, Vincent. "Le système Molnar : (1946-1976)". Paris 4, 2003. http://www.theses.fr/2003PA040247.
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Véra Molnar est née à Budapest (Hongrie) en 1924. Elle a suivi l'enseignement de l'Ecole des Beaux-Arts de Budapest jusqu'à l'obtention en 1947 d'un diplôme de professeur d'histoire de l'art et d'esthétique. Cette même année, elle émigre en France (avec François Molnar qui deviendra son compagnon de vie et de création) et s'installe définitivement à Paris. Notre étude porte sur les trente premières années de son oeuvre durant lesquelles l'artiste n'expose ni ne vend ses tableaux, développant les modalités d'un type de recherches plastiques expérimentales et radicales, appartenant à la famille de l'"art construit" et plus précisément qualifiable d'abstractiongéométrique systématique. Notre travail a consisté à mettre au jour le plus grand nombre possible d'oeuvres de cette période, à les cataloguer, à les hiérarchiser selon un découpage chronologique et des choix formels cohérents puis à analyser les modalités de fonctionnement des systèmes mis en place par l'artiste. Nous avons établi une typologie répondant à trois grands axes constructifs, selon : les lois universlles de la composition et les lois mathématiques, l'invention et l'utilisation de la "machine imaginaire", le recours dès 1968 à l'outil informatique. Enfin, en introduisnat ces oeuvres à rebours dans le fil de l'histoire de l'art nous avons mené un travail théorique de recontextualisation ayant pour objectif d'évaluer les recherches de Véra Molnar vis-à-vis des mouvements artistiques dits "conceptuel" et "minimaliste"Vera 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"
2
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.
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Alexis Preller is op 6 September 1911 in Pretoria gebore, waar
hy ook op 13 Desember 1975 oorlede is.
Hy was die jongste van vyf kinders van Olivia Maria Sandenberg
en Mauritz Herman Otto Preller, ‘n neef van die bekende
Afrikaner-historikus en -taalstryder Gustav Preller. Tydens sy
skooljare aan die Pretoria Boys High School het Preller aktief
belanggestel in die toneel- en skryfkuns. Na die voltooiing
van sy skoolopleiding was hy werksaam in die stadsraad van
Pretoria. Gedurende 1932 raak hy bevriend met Norman Eaton,
wat hom aangemoedig het om na Groot Brittanje te gaan en hom as
kunsskilder te bekwaam. In 1933 het hy uit die betrekking wat
hy by die Pretoriase Stadsraad beklee het, bedank en die jaar
daarop na Groot Brittanje vertrek waar hy met J. H. Pierneef
kennis gemaak het. Tydens sy verblyf in Groot Brittanje het hy
sy kunsopleiding ontvang aan die Westminster School of Art
onder Mark Gertler. Na sy terugkeer na Pretoria in 1935 het hy sy eerste
eenmanstentoonstelling gehou. Sy werke het uit die staanspoor
getoon dat kleur ‘n belangrike element in sy werk sou wees.
Aanvanklik was hy sterk beinvloed deur Van Gogh en Gauguin. In
1937 vertrek hy na die suide van Frankryk waar hy tuisgegaan
het in Monte Carlo. Met sy terugkeer in 1938 het hy by die
Nuwe Groep aangesluit en deelgeneem aan hul eerste
tentoonstelling. Daarna het hy en Truter na Swaziland gereis.
In 1939 onderneem hy ‘n reis na die destydse Belgiese Kongo
(Zaire) wat 'n sterk stimulerende uitwerking op sy kuns gehad
het. Hy keer terug met talle idees en veral die ‘urn-kop’
(ritueel misvormde kop van Kongo-kinders) het onmiddellik en
telkens daarna in sy werk na vore gekom.
Tydens die Tweede Wereldoorlog (1939 - 45) het Preller in 1940
by die Suid-Afrikaanse Mediese Korps aangeslui t. Hy is die
volgende jaar na Noord-Afrika en meer spesifiek na Egipte waar hy in die 14de Veldambulanseenheid diens gedoen het. In
1942 word hy krygsgevangene geneem en na Italie gestuur. Na
onderhandelings met die Rooi Kruis word hy in 1943 gerepatrieer
na Suid-Afrika. Met sy terugkeer na sy vaderland in 1944 het
hy ‘n tentoonstelling van sy werke in Johannesburg gehou.
Hierin het nuwe idees na vore gekom en het Afrika-visioene en
oorlogsindrukke saamgevloei op sy skilderdoeke. In dieselfde
jaar laat bou hy sy eerste ateljee ‘Ygdrasil’ na die ontwerp
van Norman Eaton.
Tydens ‘n volgende besoek aan Europa in 1946 het hy twee maande
lank die versamelings in die groot kunsmuseums in Londen en
Parys bestudeer en in die Louvre die klassieke Griekse beeldhoustukke
bestudeer. In die volgende jaar het Preller sy
ateljee verkoop en na die Seychelle vertrek. Na sy besoek aan
die Seychelle het Preller twee tentoonstellings in Johannesburg
en Pretoria gehou waarop skulp- en vismotiewe maar ook
Christuskoppe in sy werk voorgekom het.
Deur middel van sy gebruik van kleur en die invloed van die
inheemse kuns in sy werk, het hy Suid-Afrika bewus gemaak
daarvan dat ‘n Europese benadering nie summier op die Suid Afrikaanse
toneel oorgedra kan word nie.Alexis 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
3
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.
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Ce catalogue décrit, illustre, " historise " et commente chaque oeuvre dans le contexte de la production de l'artiste et de celle de ses contemporains. Les notices, l'introduction, les notices complémentaires et la chronologie situent l'oeuvre en regard de ses sources et du voisinage de ses contemporains. Le chapitre sur la fortune critique et l'annexe "sources" apportant un complément d'information sur sa réception. Cette thèse montre la contribution de Marcel Barbeau à l'Automatisme, un mouvement expressionniste abstrait québécois, pionnier de l'abstraction au Canada au milieu des années quarante. Artiste en constante mutation, Barbeau fut aussi associé à̧ des tendances très diverses de même qu'à des productions poétiques phoniques, musicales et chorégraphiques. L'étude rend compte de ces relations passagères en montrant la prégnance des origines expressionnistes de l'artiste et de ses références surréalistes, dada et extra disciplinaires sur son oeuvre, pour en dégager l'originalitéThis 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
4
Gilbert, Eva. "Catalogue raisonné du peintre-graveur André Derain, 1880-1954". Paris 4, 1985. http://www.theses.fr/1985PA040129.
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Toussaint, Évelyne. "Anne et Patrick Poirier : catalogue raisonné, généalogie d'une genèse du pire". Amiens, 2002. http://www.theses.fr/2002AMIE0009.
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6
Le, 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.
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Leon lhermitte, dessinateur, pastelliste, peintre et graveur francais, nait a mont-saint-pere en 1844 et meurt en 1925. Eleve de lecoq de boisbaudran, continuateur par certains cotes de l'ecole de barbizon, de corot et breton, il expose de 1864 a 1889 au salon des artistes francais des sujets religieux et paysans. Ce dernier theme devient predominant apres son succes de la paye des moissonneurs et la mort de bastien-lepage. Entraine par son ami cazin, il devient des 1890 membre de la societe nationale des beaux arts, qui organise des expositions annuelles auxquelles il participera jusqu'a sa mort. Connu tout d'abord par ses fusains, signale comme un des maitres du blanc et noir, lhermitte abandonne cette technique a laquelle il substitue, apres 1886, le pastel, tres en vogue a la fin du xixeme siecle. Sa vie est entouree d'honneurs, de distinctions, de commandes officielles. Tres celebres de son vivant, car son art repose sur l'adhesion du jury du salon et du public, lhermitte profite du succes du realisme et des themes campagnards developpes principalement par millet et de l'image que les gouvernements successifs veulent donner du paysan, symbole de travail et de morale familiale. Il est un des representants de la peinture officielle de la iiieme republique qui, par son anecdotisme et son souci de tout decrire, permet d'avoir une connaissance de la vie materielle et de nombreux aspects de la vie quotidienne et rustique avant l'industrialisation de la france rurale. Lhermitte participe a ce grand courant naturaliste des annees 1880 que l'on retrouve a cette epoque dans bon nombre de pays europeens. Si sa production picturale manque de qualite, ses fusains et certains de ses pastels sont a redecouvrir pour leur qualite esthetiqueLeon 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
7
Oppikofer-Brutsch, Françoise. "Gaston Chaissac : totems, masques, pierres et objets enluminés". Paris 1, 1990. http://www.theses.fr/1990PA010601.
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8
Le, Thanh Duc. "Georges Mathieu (1921-2012) : catalogue et étude de son œuvre". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080130.
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.../Traditional 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. [...]
9
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.
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.../Traditional 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. [...]
10
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.
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College, of Law University of Arizona. "Law Catalog, 1994-1997". College of Law, University of Arizona (Tucson, AZ), 1995. http://hdl.handle.net/10150/612035.
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12
Rumley, 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.
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Jumeau-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.
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Suisse d'origine allemande, Schwabe vint à Paris au début des années 1880, alors que s'amplifiait un mouvement de réaction au naturalisme et à l'impressionisme, grâce à un tempérament visionnaire et à une formation d'autodidacte, l'artiste put participer à ce renouveau de l'idéalisme. Il se rattache au symbolisme par l'invention d'un panthéon original et par un traitement plastique mêlant archaïsme, déformations, et un dessin influencé par Dürer, les préraphaëlistes. Ses contacts privilégiés avec le monde musical, certains cénacles intellectuels et des personnalités morales influentes, orientèrent Schwabe vers un idéalisme à tendance morale doublé de préoccupations sociales et métaphysiques. Il peut aussi renouveler l'art de l'illustration, se consacrant à quelques grands noms contemporains (Baudelaire, Zola, Mallarmé, Maeterlinck. . ) en exploitant les ressorts psychiques et symboliques des textes et son invenntion décorative, ce qui permet de souligner sa place dans la naissance de l'art nouveau. Le déclin du symbolisme et l'intransigeance morale et artistique du peintre consacrèrent son isolement après 1900 et il poursuit la conquête d'une technique classique jusqu'à sa mort tout en maintenant un répertoire symboliste teinté de méditation élégiaque mais aussi de révolte. A partir du catalogue raisonné de l'oeuvre et de la réunion exhaustive des sources, la thèse étudie la vie et l'oeuvre de Schwabe, une des figures les plus emblématiques du symbolisme
14
Evers, 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.
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Saigne, Guy. "Léon Bonnat (1833-1922) portraitiste : Catalogue raisonné des portraits peints, dessinés et gravés". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040202.
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Léon Bonnat (1833-1922) reçoit sa formation artistique en Espagne, puis dans l’atelier parisien du peintre Léon Cogniet, enfin à Rome. Ses premières grandes compositions religieuses lui apportent très tôt le succès, la renommée, les commandes de l’État, et ses scènes de genre italiennes ou orientalistes sont achetées par la clientèle privée. Vers le milieu des années 1870, il se tourne définitivement vers la peinture de portrait dans laquelle il remporte un immense succès faisant de lui, selon ses contemporains, l’un des plus grands portraitistes de son époque. Il peint les portraits des représentants de la classe dirigeante et fortunée française ou étrangère, en particulier américaine, jusqu’à la Première Guerre mondiale. Il pratique ce genre jusqu’à la fin de ses jours, laissant derrière lui, au-delà des portraits d’amis artistes ou de membres de sa famille, une exceptionnelle « galerie » des personnalités du moment, aristocrates, hommes politiques, grands bourgeois français et étrangers, dont quelques œuvres « iconiques » qui marquent la mémoire collectiveLéon 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
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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.
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Gatineau-Helbronner, Evelyne. "Catalogue raisonné des sculptures du XIXe siècle (1800-1914) des musées de Bordeaux". Paris 4, 2003. http://www.theses.fr/2003PA040235.
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La vision de la collection bordelaise apparaît kaléi͏̈doscopique. Même après l'achèvement du Musée en 1881, les sculptures ont été souvent déplacées. Cet art statuaire ne sera redécouvert qu'à partir des années 1970. La collection s'est toutefois constituée de manière logique à travers les dépôts de l'Etat, les achats réalisés grâce aux sociétés artistiques locales, les dons et legs ou le mécénat municipal. Parmi les artistes figurent quelques sculpteurs locaux. Nombre de bordelais ont œuvré dans d'autres genres : sculpture ornemaniste, art religieux ou funéraire. A leurs côtés, se trouvent des noms illustres : Dalou, Carpeaux, ou Rodin. Les collections du musée renferment les maquettes de monuments publics, dont les projets d'aménagement de la place des Quinconces. De l'inspiration antique à l'art décoratif, en passant par les scènes de genre et la sculpture animalière, du néo-clacissisme au réalisme pittoresque, l'ensemble regroupe les genres et les styles exprimés au XIXe siècleThe 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
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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.
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Cette étude monographique de l'oeuvre sculpté de Bernard Pagès est accompagnée d'un catalogue raisonné des travaux que le sculpteur français a réalisé entre 1964 et 1984. Elle s'appuie sur des entretiens personnels de l'auteur avec l'artiste et les différentes personnes qui ont suivi et soutenu son travail durant cette période. L'évolution de l'oeuvre de Pagès est symptomatique des redéfinitions que subit la sculpture en tant que genre au cours du XXe siècle et plus particulièrement dans les années soixante. Ce travail propose d'appréhender la sculpture de Pagès entre assemblage et fragmentation, principes qui dirigent les réflexions de l'artiste. Il analyse les rapprochements avec d'autres démarches de sculpteurs de cette génération et les liens forts qui unissent l'oeuvre de Pagès avec le monde de la peinture et notamment par son association à la fin des années soixante avec le groupe Supports/Surfaces, dans une atmosphère baignée par la pensée structuraliste. Etudiant les incidences de ce contexte sur l'oeuvre de Pagès, ce mémoire en questionne la logique de déconstruction et le renouvellement du vocabulaire et de la gestuelle que l'artiste met en place. Il entend montrer les conséquences de cette logique dans la perspective d'une reconstruction singulière de la sculpture de Pagès, au cours des années soixante-dix et au début des années quatre-vingtThis 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. .
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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.
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Huguet, 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.
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L'objectif de cette thèse est de proposer une étude exhaustive de l’œuvre de l'artiste allemand contemporain Franz Erhard Walther (1939, Fulda - ), accompagnant l'élaboration du catalogue raisonné de l'ensemble de son travail. En effet, pour cet artiste à l’œuvre colossale, la nécessité de la réalisation d'un catalogue raisonné se pose depuis plusieurs années. Bien que son œuvre ait une place fondamentale dans l'histoire de l'art de la deuxième moitié du XXème siècle, le travail de Walther reste encore très mal connu et souvent sujet à confusion. Cette œuvre, caractérisée en grande partie par l'utilisation de la couture comme technique et du tissu comme matériau, et dont la monumentalité n'a été rendue possible que grâce à la collaboration de l'artiste avec sa première femme, Johanna Frieß, trouve sa spécificité à travers l'évolution du concept de Handlung, propre à l'artiste. Cette étude propose donc le premier véritable catalogue raisonné de Franz Erhard Walther, de ses premières œuvres en 1954 à ce jour, accompagné d'une étude précise de chaque groupe d’œuvres, replaçant ainsi l'ensemble dans le contexte de l'histoire de l'artThe 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
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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.
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Jarrett, 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.
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Trew, 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.
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Moraes, 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.
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Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas.Made 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)
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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.
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Le succès des catalogues commerciaux auprès de la population témoigne d'une contribution hors du commun de ces vecteurs de communication de masse à l'histoire de la vie quotidienne. Dans le cadre de notre étude, nous explorons le mobilier de cuisine et de salle à manger contenu dans un corpus choisi de catalogues de vente au détail datés entre 1920 et 1960. L'évolution de l'offre, des stratégies promotionnelles de même que du contenu des annonces témoigne éloquemment de changements notables dans l'aménagement de l'intérieur domestique, mais également des valeurs et des tendances qui bouleversent les manières d'habiter et les modes de vie, notamment le travail domestique et les habitudes de consommation.
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Leibovici, Franck. "Henri Michaux : Voir (une enquête) : prolégomènes à un catalogue raisonné". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10171.
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Durant plus de dix années, l’auteur a participé à l’élaboration du catalogue raisonné de l’œuvre peint et dessiné de Henri Michaux. Il utilise cette expérience de terrain pour redécrire, sous un jour nouveau, l’expérience du « voir » (comment voir un dessin de Michaux ?), et l’apprentissage que cela suppose. Différentes disciplines sont mobilisées pour expliciter l’écologie d’une œuvre et ses modes de fonctionnement : poétique, esthétique, sciences cognitives, science studies, anthropologie de l’écriture, ethnométhodologie. Des aller-retours permanents sont effectués entre les textes, les peintures, et les situations d’enregistrement des dessins dans le contexte du catalogue raisonné (les types de « regardement »). Les situations concrètes et quotidiennes, et les problèmes méthodologiques qu’elles engendrent, servent de points de départ aux interrogations de l’enquête, et constituent le socle empirique de l’élaboration théorique qui en découle. La théorie n’est donc, ici, jamais envisagée comme une grille extérieure que l’on plaquerait sur une matière, elle est un mode de recontruction, de l’intérieur, d’une perception permettant de faire saillir, de la façon la plus efficace, les traits pertinents d’un écosystème.La question initiale « comment voir un dessin de Michaux ? » (chapitre I) est dépliée sur plusieurs niveaux. D’abord, en utilisant les ressources des textes, et des dessins - « Qu’est-ce qu’une forme ? » (chapitre II), « Une théorie de l’image » (chapitre III), « L’espace » (chapitre IV). Puis, en s’intéressant aux différents types de vision mobilisables – « Des visions construites » (chapitre V) - et aux méthodologies de classification – « La notion de séries » (chapitre VI)For 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)
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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.
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Legrand, 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.
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Holt, 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/.
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Founded on the premise that the existing literature on Gabrielle ‘Coco’ Chanel does not give a comprehensive, balanced and objective survey of the dress designs produced by the house from 1916-1929, the thesis ‘Reviewing Chanel’ provides a catalogue raisonné of the designs shown in British and French Vogue during this period. This representative sample of Chanel’s work facilitates the very necessary and overdue re-assessment of Chanel’s early career and contribution to twentieth century fashion. Part One of the Introduction includes a review of the existing literature on Chanel and explains the rationale behind the production of a catalogue of the dress designs reproduced in British and French Vogue. Part Two serves as the introduction to the twenty-eight essays which outline the principal developments in each of the dress design collections presented by the house between 1916-1929. Each essay provides an analytical summary of the key themes and developments of the collection and relates Chanel’s work to that of the other leading houses in Paris during this period.
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Bénichou, 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.
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Depuis les années soixante, de nombreux artistes réalisent des oeuvres en forme de collection d'objets ou de documents divers. La collection et les activités qu'elle suppose deviennent alors les principes de la pratique artistique au détriment du travail plastique et des savoir-faire traditionnels. Ces oeuvres relèvent cependant de formes et d'esthétiques tellement différentes que l'on peut a priori hésiter à les aborder selon une même perspective. Il s'agit donc de dégager les enjeux communs qu'elles partagent et d'évaluer leur contribution à la redéfinition de l'art et au renouvellement des modes de fonctionnement des oeuvres qui s'opèrent au cours des quatres dernières décennies. Quatre axes de réflexion sont privilégiés. Le rapport que ces oeuvres établissent avec l'institution muséale est d'abord envisagé à travers les principales expositions qui ont abordé le sujet. Puis, à partir d'un large corpus d'oeuvres, nous analysons le changement de la nature sémiotique de l'art que ces pratiques induisent, tout en tentant de dégager leur spécificité par rapport aux autres formes d'appropriation. Par après, les "Inventaires des objets ayant appartenu à. . . "que Christian Boltanski réalise en 1973 et 1974 et reconduit dans les années quatre-vingt-dix donnent lieu à une réflexion sur la remise en question de la conception moderne de l'artiste et ses valeurs centrales, l'authenticité, l'originalité, la subjectivité. Enfin la série de Vera Frenkel, "The Secret life of Cornelia Lumsden. A remarkable story", développée entre 1978 et 1986, permet d'analyser le regard que l'artiste collectionneur pose sur les disciplines historiques, en l'occurence l'histoire de l'art. Il apparaît qu'à travers ces pratiques, les artistes cherchent à se réapproprier une part de responsabilité quant à l'inscription de leur oeuvre dans l'histoire et ses modalités de pérennisationSince 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
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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.
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Ce travail est consacré à Emile Gallé, chef de file de l’Ecole de Nancy, artiste dont les créations appartiennent aux réalisations majeures de l’Art Nouveau. Il était, en outre, passionné par la littérature et c’est cet aspect de sa personnalité, ayant fortement influencé son œuvre, que nous avons étudié. Notre recherche se base essentiellement sur le témoignage le plus concret que Gallé nous a laissé de son intérêt pour les textes : les nombreuses citations qu’il a gravées sur ses œuvres (de verre, bois ou porcelaine), ou dont il a émaillé ses écrits. Leur importance réside dans le fait qu’elles sont partie prenante de la création artistique, puisque Gallé semblait parfois créer une pièce après avoir été subjugué par un passage littéraire. C’est pourquoi il nous a semblé nécessaire de répertorier en détail, sous la forme d’un catalogue raisonné, l’ensemble des citations que l’artiste a choisi d’extraire d’œuvres littéraires du 19e siècle. Nous avons fait suivre ce recensement d’un classement thématique, visant à éclairer les sujets de prédilection de l’artiste. Cette description permettant de faire, en conclusion, quelques remarques concernant les thématiques principales des œuvres. Si ce catalogue constitue le cœur de notre travail, il nous est apparu indispensable d’envisager aussi au préalable la vie d’Emile Gallé, afin de mieux appréhender les influences principales ayant déterminé sa sensibilité littéraire et artistique. La première partie de notre thèse revêt donc un aspect ouvertement biographiqueThis 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
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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.
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Orientador: Jorge Sidney Coli JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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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
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Prudon, Montserrat. "Les mouvements d'avant-garde entre Barcelone et Madrid (esthétique et idéologie) (1929-1936)". Paris 4, 1992. http://www.theses.fr/1991PA040223.
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La these se propose d'etudier les differents courants qui, venus d'europe et surtout de paris, penetrent dans la peninsule iberique, creant un mouvement d'echange entre les deux capitales culturelles: barcelone et madrid. Les dates qui determinent la periode se justifient par leur signification historique ou culturelle: exposition internationale (1929) et guerre civile (1936). Plusieurs inedits (essai, correspondance) permettent de centrer le probleme selon les deux axes choisis: esthetique et ideologie. La reaction aux courants d'avant-garde determine pour la catalogne une prise de conscience proche du nationalisme et decide de l'attitude des milieux artistiques et litteraires, ce a quoi correspond la replique centralisante de la capitale. Les manifestations abordees sont a predominance litteraire (j. V. Foix, joan salvat-papasseit, jorge guillen, vicente aleixandre). Elles n'excluent pas, cependant, la prise en compte des revues d'art ou autres aspects de la creation d'ordre plastique ou musical: influence du cubisme, du surrealisme, et penetration problematique du dodecaphonisme. La recherche a ete menee selon une demarche plurielle associant depouillement de presse, approche textuelle ou analyse de l'oeuvre d'art. L'ensemble de ces etudes met en evidence que si barcelone joue bien le role de plaque tournante de toutes les avant-gardes, la confrontation aux esthetiques nouvelles entraine une prise de position au paln ideologique qui prepare l'eclosion du catalanismeThis 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
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Dabat, Amandine. "Hàm Nghi (1871-1944) : empereur en exil, artiste à Alger". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040138.
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Hàm Nghi (1871-1944), empereur patriote selon l’historiographie vietnamienne, victime ou acteur de la résistance anticoloniale selon les historiens français, fut exilé à Alger dans l’espoir de mettre fin au mouvement Cần Vương. Déporté à l’âge de dix-huit ans, pion sur l’échiquier politique de l’Indochine, il était considéré par une partie des autorités françaises comme un homme politique influent. Il fut surveillé toute sa vie et ne fut jamais autorisé à entrer en contact avec l’Indochine. Cependant, celui qui était désormais appelé « prince d’Annam », noua des amitiés avec des élèves vietnamiens au lycée d’Alger, des officiers et des missionnaires français, qui circulaient entre l’Indochine, l’Algérie et la métropole. Ces intermédiaires lui permirent de conserver un lien avec l’Indochine. Hàm Nghi consacra sa vie à l’art. Il devint peintre et sculpteur. Il fut l’élève du peintre orientaliste Marius Reynaud, du sculpteur Auguste Rodin, et fréquenta de nombreux artistes de son époque. Les archives nationales, vietnamiennes et françaises, nous apprennent les aspects administratifs de son exil : seul le point de vue du gouvernement français est alors connu. Les archives privées du fonds Hàm Nghi, récemment découvertes, apportent le regard intime de l’empereur exilé sur sa vie, par l’intermédiaire de sa correspondance. Ces documents permettent d’écrire une biographie et d’établir un catalogue raisonné de son œuvreHàm 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
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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.
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Montaner y Simón, que inició su actividad editorial a mediados del siglo XIX, fue pionera en la publicación de obras lujosas en formato monumental, tanto de carácter científico como de historia, grandes clásicos de la literatura universal y narrativa contemporánea. Todas ellas editadas con el máximo esmero en el diseño y utilizando para su ilustración los avances tecnológicos más punteros que las Artes gráficas industriales del momento proporcionaron al sector editorial. Para su catálogo contó con los autores nacionales más prestigiosos de la época y tradujo la literatura extranjera que el público de lengua castellana ansiaba conocer.
Desde 1868 y a lo largo del siglo XX, Montaner y Simón fue considerada una de las mayores editoriales barcelonesas y se ganó el reconocimiento de todos los estamentos intelectuales, sociales y políticos, aquí y más allá de nuestras fronteras: en el resto de España y en los países hispanoamericanos. Montaner y Simón fue, sin duda, una de las editoriales más influyentes de nuestra historia cultural, que supo anticiparse a los tiempos y ser innovadora en formas y contenidos, aportando a nuestra sociedad toda la riqueza artística y literaria que marcaban las corrientes del resto de Europa.Montaner 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.
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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.
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Offering of electronic public services has become one of the principal parts of strategy of many governments all over the world. One of the 20 public services envisaged in program documents of the European Union is a service designated for citizens “Public libraries (availability of catalogues, search tools)”, that has to ensure open access to regional and global information resources. However taking into account the tasks that emerge when academic libraries start to create knowledge society it is very important to evaluate the spectrum of electronic public services provided exactly by academic libraries, possibilities of their quality and effectiveness improvement, and perspectives of their development.
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Rubí, 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.
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Le propos principal de cette thèse de doctorat est de réfléchir sur le monde de la politique et du pouvoir dans une société qui est en train de changer, à cheval entre le XIXe et XXe siècle. Cela signifie analyser la transformation de la politique en un moment clé de la transition de la politique des notables à la politique des masses. De même, on délimite les ruptures et le scontinuités et on définit les éléments du procès de changement poltique expérimenté. Et en dernier terme, on étudie la modernité politique à partir d'une étude de cas en concretant comment s'est produit l'accès à celle-ci. Le cas choisi est la ville de Manresa (Catalogne, Espagne) dont on analyse posément l'évolution de la vie politique le long de la période historique de la restauration borbonique entre 1875 et 1923. La méthodologie utilisée est de caractère interdisciplinaire et combine indistinctement les regards du politologue, du sociologue et de l'anthropologue le long d'une chaîne diachronique, d'événements et de changements structurels. En même temps, on concilie la méthode propre des sciences sociales qui contemple la perspective des modèles théoriques de changement avec la méthode spécifique de l'historien, basée sur la prise de données factuelles qui sont interprétées à la lumière des paradigmes nommés auparavantThe 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
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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.
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L'objectif de ma thèse était de créer un catalogue de films de fiction relatifs à la Première Guerre mondiale produits en Italie et en France entre 1914 et 2013. Méthodologiquement, j'ai travaillé sur une variété de sources (répertoires cinématographiques, revues spécialisés, visas de censure et vision des films) selon la disponibilité des matériaux qui sont parvenus jusqu'à nous. J'ai essayé de proposer une enquête analytique qui comprend aussi des films qui se rapportent la guerre sans la montrer, pour cette raison mon travail sera sûrement incomplet mais il vise à une exhaustivité la plus grande possible. J'ai consacré une attention particulière à la censure exercée par |'État, en particulier jusqu’au les années `GD, une époque où la censure politique a été particulièrement forte. En plus de la censure définitive, j’ai aussi analysé celle préalable (en Italie de 1945 à 1965, en France de 1945 à 1961.] et en relevant deux attitudes qui sont similaires mais avec différentes méthodes d'intervention. Bien que l’enquête soit centrée sur les deux pays, l’espace donné à l’affaire italienne est supérieure à celui français. Le choix de la comparaison avec la France a été conditionné par plusieurs considérations, notamment la centralité qui, encore aujourd'hui, à la Première Guerre mondiale dans les cinémas et la public history française. L'évolution du récit cinématographique a été mise en relation avec le contexte politique, cinématographique, Législatif et historiographique; j'ai aussi essayé de comprendre la réception critique des films à travers deux facteurs : les résultats du box-office et les opinions exprimées dans les revuesThe 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
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Pernoud, Emmanuel. "Olivier Debré : les estampes et les livres illustrés (1945-1990)". Paris 1, 1991. http://www.theses.fr/1991PA010580.
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Forte de 451 numéros, l'oeuvre gravée d'Olivier Debré (né en 1920) partage avec les peintures du même artiste cette quête d'un "signe vivant" qui a donné le jour à deux formes complémentaires : le "signe-personnage" (depuis la fin des années 40) et le "signe-paysage" (depuis le début des années 60). Chez Olivier Debré, l'estampe est plus particulièrement le domaine des phénomènes de matière (aquatinte) et des variantes chromatiques (lithographie) ; elle est aussi le lieu de rencontre avec écrivains et poètes (plus de vingt livres illustrés). Après une introduction, cette thèse présente un catalogue raisonné divisé en quatre parties : 1 eaux-fortes, aquatintes et pointes sèches 2 lithographies et sérigraphies 3 estampes de reproduction 4 principales collaborations au livre (couvertures, illustrations) par des procédés autres que l'estampeInitiated 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
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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.
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Seth Siegelaub (1941, New York-2013, Bâle) est une figure majeure, connue des historiens de l’art pour avoir de manière séminale renouvelé les modalités d’exposition, de présentation et de distribution des œuvres conceptuelles. La carrière de celui qui a été considéré comme l’impresario zélé de quatre artistes (Robert Barry, Joseph Kosuth, Douglas Huebler [1924-1997], Lawrence Weiner) ne s’arrête pas en 1972, date qui marque son départ de l’art et qui aurait confirmé l’« échec » des luttes politiques d’une génération. Le dropout de Siegelaub – se revendiquant comme « not an artist » mais opérant au cœur du dispositif – serait-il une reconversion des savoir-agir conceptuels ?L’approche anthropologique de l’écrit dans lequel Siegelaub est puissamment investi permet de suivre un parcours de vie séquencé en trois « sphères d’activité » : l’art, le militantisme et l’érudition. Des entretiens avec notre personnage principal ainsi qu’avec ses collaborateurs, la consultation de l’ensemble de son fonds et des projets de valorisation nous ont permis d’en analyser les enjeux respectifs. La première sphère nous amène à découvrir l’art conceptuel comme une littératie qui étend de manière inédite les usages quotidiens de l’écrit. La deuxième fait émerger le centre de documentation militant comme forme politique de résistance au capitalisme et de transformation sociale. La troisième, par un intérêt parallèle pour le textile, révèle une appropriation personnelle de la bibliographie. Siegelaub ne change pas du tout au tout d’activité mais se déplace entre différents mondes sociaux polarisés en mettant en résonance des pratiques et en construisant des réseaux grâce à l’écrit. En 1969, Siegelaub affirme : « Je ne suis pas un écrivain – je n’écris jamais, j’agis ». Son rapport à l’écrit est complexe, alors même qu’il n’a presque rien « écrit », au sens littéraire, théorique ou journalistique où on l’entend généralement. Qu’a fait Siegelaub avec l’écrit ? Dans quelle mesure les écrits ont-ils permis à cet editor, publisher, documentaliste, bibliographe et collectionneur d’agir ? Il a multiplié les écrits typiques comme le catalogue-exposition, le contrat ainsi que la bibliographie et, dans certains cas, en a renversé les usages à 180 degrés. Le parcours de Siegelaub touche à des enjeux théoriques puisque chaque domaine où il a été actif a produit un point de vue « local ». Les artistes conceptuels se sont intéressés au langage et ont utilisé le document pour tenir des positions critiques par rapport aux œuvres ; Armand Mattelart, chercheur critique ayant collaboré avec Siegelaub, a montré que les médias jouent un rôle essentiel dans la lutte des classes ; le savant graphomane François-Xavier Michel (1809-1897) a été précurseur d’une approche sociale de l’histoire des textiles. Le parcours de Siegelaub permet de considérer ensemble des idées sur l’écrit qui s’élaborent dans différentes disciplines et qui n’ont jamais été pensées dans leurs articulationsSeth 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
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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.
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Delmont, Elizabeth Cheryl. "Catalogue raisonne of Maggie Laubser's work, 1900-1924". Thesis, 2015. http://hdl.handle.net/10539/17161.
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Langerman, Jorike. "Diek Grobler : an artists monograph with interactive catalogue". Diss., 2011. http://hdl.handle.net/10500/5138.
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This is a monograph on the South African artist Diek Grobler. The aim is to
contextualise the artist‟s oeuvre up to 2009 and to explore the visual
metaphors in his art.
Grobler has a fascination for stories. He blends tales of traditional Western
mythology, African mythology, Christian religion, folklore and magical
realism into narrative artworks. Through visual metaphors the artist
comments on the everyday human dramas that surround him – be they
political, social, psychological or cultural. Furthermore, he adds an element
of surprise to his sketches of human drama, by infusing them with irony
and humour.
My research reflects the diverse nature of Grobler‟s oeuvre as it
investigates works from various artistic genres such as painting, sculpture,
illustration, performance art, avant-garde theatre and animation. It also
examines a blend of different artistic media such as ceramics, oil paint,
gouache, pastels, scraperboard, earthenware, 2D computer animation,
puppetry, and stop-motion animation.Art History, Visual Arts & Musicology
M.A. (Art History)
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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.
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L'objectif de cette thèse est de proposer une étude exhaustive de l’œuvre de l'artiste allemand contemporain Franz Erhard Walther (1939, Fulda - ), accompagnant l'élaboration du catalogue raisonné de l'ensemble de son travail. En effet, pour cet artiste à l’œuvre colossale, la nécessité de la réalisation d'un catalogue raisonné se pose depuis plusieurs années. Bien que son œuvre ait une place fondamentale dans l'histoire de l'art de la deuxième moitié du XXème siècle, le travail de Walther reste encore très mal connu et souvent sujet à confusion. Cette œuvre, caractérisée en grande partie par l'utilisation de la couture comme technique et du tissu comme matériau, et dont la monumentalité n'a été rendue possible que grâce à la collaboration de l'artiste avec sa première femme, Johanna Frieß, trouve sa spécificité à travers l'évolution du concept de Handlung, propre à l'artiste. Cette étude propose donc le premier véritable catalogue raisonné de Franz Erhard Walther, de ses premières œuvres en 1954 à ce jour, accompagné d'une étude précise de chaque groupe d’œuvres, replaçant ainsi l'ensemble dans le contexte de l'histoire de l'artThe 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
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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.
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A coleção Luís Cangueiro é constituída por mais de seiscentos instrumentos de música mecânica datados de entre os finais do século XVIII e a década de 1940, compreendendo caixas de música, autómatos, órgãos, organetes, pianos mecânicos, fonógrafos e gramofones, além de um acervo fonográfico com milhares de registos, documentos variados e objetos correlacionados.
Esta coleção de património musical foi deixando o domínio privado por via da realização de um conjunto de exposições em vários locais de Portugal, até ter ficado acessível ao público em 2016, com a sua instalação no Museu da Música Mecânica, mandado construir pelo colecionador na sua propriedade em Arraiados, Palmela.
Considerando o ineditismo da coleção no panorama nacional dos museus e do colecionismo privado, bem como a sua dimensão e representatividade, seguimos uma metodologia de investigação qualitativa e elaborámos, por um lado, um inventário destinado a contribuir para a sua documentação e estudo, e por outro, analisámos o percurso da sua formação e desenvolvimento até à sua musealização, com o objetivo de compreender e refletir sobre a importância das práticas colecionistas contemporâneas no contexto dos estudos do património.
A dissertação encontra-se organizada em quatro capítulos. O primeiro enquadra teoricamente o âmbito do nosso trabalho. O segundo apresenta a biografia do colecionador e o estudo detalhado da coleção baseado no inventário efetuado que se inclui no apêndice. O terceiro mostra as circunstâncias anteriores ao processo de musealização. O quarto aborda a fundação do Museu da Música Mecânica, a instalação da coleção e a centralidade da figura do colecionador.
Com a presente investigação foi possível evidenciar como as práticas colecionistas contemporâneas convergem para a preservação e valorização do património e perpetuam a memória das sociedades.The 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.
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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 fonteResumo:
A museum has to care for the objects in its collection to the best of its ability. The concept collections management emerged in the 1960s, when accountability for collections became a strong incentive for museums to develop modern collections management practices. In the process of establishing accountability (the effective implementation of practices to ensure adherence to collections policies on the accessioning, care and disposal of objects in a museum collection) many museums encountered problems such as the lack of access to detailed information about the objects in collections, a proliferation of accession numbers and inadequate location control. These problems were also encountered at the National Cultural History Museum, Pretoria. This research reveals the way in which the historical, anthropological and archaeological collections at the Transvaal Museum, predecessor of the National Cultural History Museum were managed from 1913 to 1964. This period was chosen for the following reasons: -- J W B Gunning, the director of the Transvaal Museum, was succeeded by H G Breijer in 1913. The year 1913 is thus a clear starting point for research and a new beginning, a watershed, at the Museum. -- The year 1964 marked the inception of an autonomous museum, the National Cultural History and Open-Air Museum, and the discontinuance of responsibility, after a period of 60 years, for the anthropology, archaeology and history collections at the Transvaal Museum. The development of the Transvaal Museum as a natural history and a history museum, is traced. In 1953, for the first time, a trained professional officer was appointed for the history division at the Museum. After 1953 there was an increased awareness (from a professional point of view) that historical, anthropological and archaeological collections require specialized curatorial care. Modern collections management principles, although they were not called by this name, featured effectively in the handling of the historical collection in particular, for the first time in more than 50 years. Aspects such as departmental organization, the staff, expansion of collections, policies, documentation and conservation are investigated. An evaluation of the factors that played a decisive role in collections management practices for the historical, anthropological and archaeological collections shows that a combination of aspects has to be considered in order to understand the practices that were followed and the changes that were made.Thesis (DPhil (Museology))--University of Pretoria, 2006.
Historical and Heritage Studies
unrestricted