Teses / dissertações sobre o tema "Château de Clagny, Versailles"
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Veja os 15 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Château de Clagny, Versailles".
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Leferme-Falguières, Frédérique. "Le monde des courtisans : la haute noblesse et le cérémonial royal aux XVIIe et XVIIIe siècles". Paris 1, 2004. http://www.theses.fr/2004PA010670.
Texto completo da fonteSzanto, Catherine. "Le promeneur dans le jardin : de la promenade considérée comme acte esthétique. Regard sur les jardins de Versailles". Phd thesis, Université Paris VIII Vincennes-Saint Denis, 2009. http://tel.archives-ouvertes.fr/tel-00537912.
Texto completo da fonteSzántó, Catherine. "Le Promeneur dans le jardin : de la promenade considérée comme acte esthétique : Regard sur les jardins de Versailles". Paris 8, 2009. http://octaviana.fr/document/152080066#?c=0&m=0&s=0&cv=0.
Texto completo da fonteRecently there has been a new awareness among garden historians of the importance of movement in shaping the experience of a garden. Indeed, the garden exists for its visitors only inasmuch as its spaces have been discovered, sensed, “lived”. The garden is the garden explored. Promenade – a leisurely walk with no other end than itself – is thus a privileged activity to study spatial experience. Despite historians' awareness of an itinerary through the gardens devised by Louis XIV himself, Versailles has hardly been studied as a place for promenade. In my thesis I look at the experiential potential of the gardens of Versailles by combining 17th century descriptions of promenades in the garden and a phenomenological description of spatial experience corroborated by recent physiological research on perception. Thus, our ability to move defines the structures of the spatio-temporal modes of „here” and „there”. Through the changes or continuity in specific sensory experiences that occur as we move, the garden offers the possibility for heightened experiences of ‘here’ – views, objects, spaces seen on axis - and ‘there’ – distant views and objects that appear reachable. But more subtly, the garden can accompany the transition from the fulfillment of being ‘here’ to the desire of going ‘there’ and thus enrich our motion itself. Space is here conceived not as a backdrop that we see as we move, but as an invitation to motion, as a spatial dialogue taking the shape of a promenade. The richness of this dialogue in Versailles comes from the complexity of the choices offered to the promeneur, allowing one to build through time a meaningful aesthetic experience of the garden
Santini, Chiara. "Il giardino di Versailles come modello di progettazione del paesaggio : maîtres jardiniers e tecniche d'aménagement del territorio nell'età del re Sole". Paris, EHESS, 2004. http://www.theses.fr/2004EHES0152.
Texto completo da fonteThis thesis aims at outlining the creation of a model of landscape organization, the one of the garden of Versailles, focusing the attention on the formation and pratice of the technicians who made it. The target of this work is analysing the theoretical process and the practical realization of a landscape-organization project put into effect in France, at the King Sun age for the creation of the Grand Parc of Versailles. The reearch articulates through three main themes : 1) the publication, during the first half of the XVII century, of art and garden composition treatrises which theorise a new model of garden-space. 2) The analysis of administrative practices, of the techniques and knowledge used by several trade corporations which work for 50 years in the yard of versailles. 3) The birth and the formation of a new gardener role, nearer to the one of the landscape-painter architect more than the simple horticulture man
Landgraf, Eric. "Louis-Philippe, roi bâtisseur : le rêve d'une nation unifiée. Le chantier du château de Versailles de 1830 à 1848". Thesis, université Paris-Saclay, 2021. http://www.theses.fr/2021UPASK008.
Texto completo da fonteBy deciding, in 1832, to transform the Palace of Versailles into a historical and military museum evoking all of France's glorious eras and, first and foremost, its regime, King Louis-Philippe left a lasting impression on the masterpiece of his forefather Louis XIV and, through its grandiose scenography, sent a strong political message to the country. The importance of the construction site bears witness to the monarch's personal investment in the protection of heritage monuments. Led by the sovereign's armed wing, the Civil List, the construction site then undertaken led the castle to be transformed into a place of remembrance. Louis-Philippe thus sought to federate the various political currents and unify them in a single site dedicated to the post-revolutionary nation. This royal act paved the way for the configuration of the Palace as we know it today. The remarkable attendance that resulted marks the beginning of the gradual democratization of the monument. Major works will forever modify the large apartments of the South, North and Central wings. In the course of our study, we wanted to revive the directors of this new decor, namely the elite of civil servants of the Civil List, the operators or companies that were bidding for the contract and the immediate actors, the workers - all of them at work on the largest cultural site of the July Monarchy. A census of the workforce and consultation of the work reports allows us to understand the proliferation of tasks, to determine the three major sets of work - "maintenance", "major repairs" and "new and extraordinary works" - and to study the realization of the project. The demolitions transformed the place, the added decorations modified the original style and the museum exhibits mostly works of art painted and sculpted by the famous artists of the period in a setting chosen and modernized by the monarch. Our study finally establishes, thanks to a strict examination of the accounting archives, the financial balance sheet of the construction site, a controversial project at the time, whose expenses supervised by a meticulous administration were pushed by a king who was sometimes too thrifty, sometimes exaggerating his demands to the detriment of the allocated budget. The social balance sheet, for its part, appears more contrasted. It reinforces the idea that the July Monarchy is indeed a liberal and inegalitarian society, enriching the wealthy and granting the poor only low incomes in exchange for hard work. The construction site of the Palace of Versailles, a reflection of the entrepreneurial and working-class world of the mid-19th century, is a summary of the administrative, political and economic organization of Louis-Philippe's France
Sorkine, Florence. "Propagande et mécénat royal : les fêtes louis-quatorziennes à Versailles et leurs représentations, 1661-1682". Paris 3, 1993. http://www.theses.fr/1994PA030022.
Texto completo da fonteAlthough a real historic and social phenomenon, the "fete de cour" during the reign of louis xiv can now only be traced through the literature it gave rise to. Moreover this literature reveals the aesthetic choices of a regime which intended the celebrations, particularly those given at versailles, as a royal showcase. The study of the celebrations through this functional literature gives a glimpse of the beginnings of important changes in the regime, changes which are too often presented as a feature of the second period of the reign
Maral, Alexandre. "La chapelle royale de Versailles sous Louis XIV : architecture, institutions, liturgie". Paris 4, 1997. http://www.theses.fr/1997PA040041.
Texto completo da fonteFive chapels succeeded each other between 1661 and 1715. The chapel built in 1672, whose decoration was mainly due to Le Brun, was the most remarkable of the first three, whose existence was nevertheless very short. The chapel built in 1682, designed to be temporary, lasted in fact until 1710. Its internal decoration can be easily reconstituted. The last chapel, consecrated in 1710, was planned and built over a period of twenty years, and to the boldness of its architectural style it adds an amazing richness in its deeply symbolical iconography. The services of the chapel royal of Versailles were ensured by two groups of ecclesiastics: the king's household officers and, after the installation of the court at Versailles in 1682, the priests of the mission, also known as lazarists. Each of these institutions carried out precise functions, which have been rediscovered thanks to the sources coming from the officers of the king's household and the regulations of the chapel. It is through this latter document as well as the contemporary chronicles that the everyday life of the chapel can be reconstituted. The liturgical ceremonies, during which music was given a very important place, were numerous and varied. The fathers of the mission performed them with an immutable regularity, while the ecclesiastical officers of the king's household followed the movements of the court. Besides the ordinary masses and offices, which were identical to those performed in parish churches throughout the kingdom, some ceremonies in the presence of the king and his family took place in the chapel at Versailles. These particularly included princely baptisms and weddings, feasts of the order of the saint-esprit, bishops’ oaths and cardinals' receptions. In other respects, the almost sacerdotal function of the most Christian king was expressed by some rites which attributed an episcopal role to the king, like those of the aspersion of holy water, the kissing of the gospels and of the corporal, the incensing, the celebrant's bows. All these elements enable us to establish a coherent understanding of the king's religion in the context of the daily life of the French court at Versailles
Antichan, Sylvain. "Mettre la France en tableaux : la formation politique et sociale d’une iconographie nationale au musée historique du château de Versailles (1830-1950)". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010331.
Texto completo da fonteIn 1837, the Palace of Versailles was « converted » into a vast museum aiming to « gather allthe national historical memories that it belongs to the arts to perpetuate ». For about a century,the Second Empire, followed by the Third Republic, maintained, reshuffled and expanded themuseum, to include representations of contemporaneous events. This thesis aims tounderstand, based on a dense network of archival materials, the museum’s contribution to theelaboration and diffusion of a national and civic imagination.The iconographic analysis of nearly 1,300 paintings within the context of their palatialframework allows us to explore the pictorial and material representations of the political, theirsimilarities and differences. The issue, therefore, is to apprehend the manner in which thesehistoricized visions of the nation-Statecould hold and become internalized. Their success isnot only the result of political and administrative action, but also finds its source in the mutualreinforcement of different social spheres and loyalties. This national history takes shape byreproducing the actors’ most familiar environments, by borrowing from the domestic memoryof the “great notables” and from the norms and issues of professional groups (painters,historians, the military), or by solemnizing the popular habits. The history of France becomesobjective through this interpenetration of identities, through this mutual reinforcement ofsocial sectors, in these processes of politicization of the social and socialization of thepolitical. To understand the formation, content and diffusion of this national imaginationamounts to scrutinizing the systems of relationships between social groups, the evolvinginterrelations between everyday life and the national, between art and history, and betweenthe social and the political
Lacaze, Julien. "Validité et opposabilité des classements au titre des monuments historiques : la protection juridique du domaine de Versailles de l'origine à nos jours". Paris 10, 2004. http://www.theses.fr/2004PA100059.
Texto completo da fonteChâtelet, Valentine. "Nouvelles technologies et valorisations d'un patrimoine : les marbres, des Pyrénées à Versailles". Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20081/document.
Texto completo da fonteThis thesis focuses on the enhanced promotion of the the French Pyrenees’ marble heritage through the use of mobile technologies. It aims to question the role of the art historian in the development of these activities on such territories. The quarrying of these Pyrenean marbles, a valued geological resource, dramatically transformed the makeup of mountainous landscapes and shaped the architecture of royal palaces; these marbles are an integral part of our heritage, in both tangible and intangible forms. Their promotion is multifaceted, invoking our perception of the landscape, of sustainable development, and of the concept of terroir itself. From a heritage point of view, mobile technologies offer new channels for cultural mediation. They therefore open up new avenues which can be seized upon by those involved in the promotion of this patrimony. Thanks to the support of Camineo, a company specialising in the interpretation of the marble heritage through mobile technologies, two projects were led in conjunction: one in the Pyrenees and the other on the Domaine du Trianon in Versailles. This has enabled us to question the contribution of history of art in the production of outreach material about this heritage, and more generally, on our perception of the environment
Castex, Jean-Gérald. "Graver Le Brun au siècle des Lumières : le recueil gravé de la Grande galerie de Versailles de Jean-Baptiste Massé". Paris 10, 2008. http://www.theses.fr/2008PA100007.
Texto completo da fonteIn 1723, one year after the young Louis XVth and the Court returned to Versailles, the duc d’Antin, Minister of Arts, allowed the miniaturist Jean-Baptiste Massé (1687-1767) to make, at his own expense and for his own benefit, the engraved decoration of the Grande gallery of Versailles and, also, that of the contiguous Peace and the War rooms. Based on a project begun by Le Brun himself in 1687, in the line of the Cabinet du Roi, the engraved compilation of the Grande Galerie de Versailles took thirty years to complete before it’s publication in 1753. Based on methods borrowed from the material history of books and on numerous archives and contemporary testimonies, this thesis is dedicated to the artistic adventure of this compilation. It tries to describe all the stages of its making, from it’s conception to it’s reception during the second half of the XVIIIth century. It also tries to replace this work within a wider art context, in order to emphasize the part played, from the end of the XVIIIth century, by engraved publications of masters’ works in spreading art and helping it to be appreciated by the public. The study of the engraved compilation of the Grande Galerie de Versailles sheds light on the way Le Brun’s art was perceived in the XVIIIth century, at a time when these paintings, however famous, were not understood anymore, nor even visible
Grimald, Patrice. "Une galère à Versailles : reconstitution de la réale du Grand Canal construite en 1685". Phd thesis, Université d'Evry-Val d'Essonne, 2013. http://tel.archives-ouvertes.fr/tel-00974361.
Texto completo da fonteMaës, Antoine. "Un sculpteur romain à la cour de France : alliances, fortune et œuvre de Jean-Baptiste Tuby (1629-1700)". Thesis, Tours, 2019. http://www.theses.fr/2019TOUR2024.
Texto completo da fonteBorn in Rome in 1629, Jean-Baptiste Tuby did the whole of his career in the kingdom of France. Become « sculpteur ordinaire du roi » (sculptor of the King) in 1659, probably shortly after his settle in Paris, he knew a fast rise from the first years of the reign of Louis XIV. Applied and received to the Académie royale de Peinture et de Sculpture in 1663, then established in the Gobelins manufactory from 1664-1665, he was made a naturalized French citizen in 1672. The sculptor was regularly solicited to contribute to the beautification of royal residences, in particular Versailles, where he gave the best of his talent, and he participated also in the execution of prestigious funeral monuments. He often worked from the drawings given by Charles Le Brun, First Painter of the King, and he was able to translate them with virtuosity in different materials, as marble and lead, and moreover, he injected his own style in. Among the thirteen known children that Tuby had with his two successive wives, only Jean-Baptiste II Tuby undertook a career as a sculptor. Nevertheless, this one was not as fecund as his father’s, who died in 1700
Sarmant, Thierry. "Les demeures du Soleil : Louis XIV, Louvois et la surintendance des bâtiments du roi". Paris, EPHE, 2014. http://www.theses.fr/2002EPHE4053.
Texto completo da fonteHsu, Yu-Lun, e 許祐綸. "French Cultural Heritage in Change: a case study of Joana Vasconcelos Versailles at the Château de Versailles". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/36851886415309507470.
Texto completo da fonte國立臺灣師範大學
歐洲文化與觀光研究所
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This research is based on an inquiry into the implications of the controversial contemporary art exhibition project at the Château de Versailles since 2008, and a reflection on the juxtaposition of contemporary arts and historical sites in the French context. The research takes the 2012 exhibition Joana Vasconcelos Versailles as a case study to analyze the issue. Drawing upon Bourdieu’s “field” theory, the research explores the significance of contemporary art exhibition as a strategy of field struggle in the change of French cultural heritage field. It describes the cultural heritage changes from the 18th century to present, and the distinctive nature of the conjunction of contemporary arts and French heritage sites, then examines the characteristics of Joana Vasconcelos Versailles as Versailles’ strategy of field struggle. The research also analyzes the exhibition by meaning construction and power engaged knowledge shaping, through an investigation of the dialogues between the exhibition and the historical space. Through archive research, interviews, discourse analysis on the artworks and exhibition as well as fieldworks methods, the research demonstrates the post-modernization of heritages, field struggles, and exhibition politics. The case study points out that Joana Vasconcelos Versailles is a product of the postmodern change of the Château de Versailles, and part of the strategies of the renewal of symbolic capitals and the position taking of the French cultural heritage within the recent decade. Through the case study of Joana Vasconcelos Versailles, the research provides a contextual analysis and a critical interpretation of the exhibition as a form of juxtaposition of contemporary arts and historical settings.