Literatura científica selecionada sobre o tema "La peinture"
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Artigos de revistas sobre o assunto "La peinture"
Heinich, Nathalie. "Académisation et Provincialisation des Carrières de Peintres en Provence au XVIIe Siècle". Annales. Histoire, Sciences Sociales 45, n.º 6 (dezembro de 1990): 1301–15. http://dx.doi.org/10.3406/ahess.1990.278908.
Texto completo da fonteΚΩΝΣΤΑΝΤΟΥΔΑΚΗ-ΚΙΤΡΟΜΗΛΙΔΟΥ, Μαρία. "Conducere apothecam, in qua exercere artem nostram: Το εργαστήριο ενός βυζαντινού και ενός βενετού ζωγράφου στην Κρήτη". BYZANTINA SYMMEIKTA 14 (26 de setembro de 2008): 291. http://dx.doi.org/10.12681/byzsym.882.
Texto completo da fonteStackler, Apollonia. "Le projet de «peinture sculpturale» chez Ingres et son temps historique". Memoria y Civilización 27, n.º 1 (7 de maio de 2024): 73–95. http://dx.doi.org/10.15581/001.27.1.004.
Texto completo da fonteArrouye, Jean. "Les paysages virtuels de Richard Diebenkorn". Figures de l'Art. Revue d'études esthétiques 6, n.º 1 (2002): 277–96. http://dx.doi.org/10.3406/fdart.2002.1316.
Texto completo da fonteTurk, Boštjan Marko. "Maurice Barrès et l'icône de l'art moderne". Acta Neophilologica 53, n.º 1-2 (27 de novembro de 2020): 195–206. http://dx.doi.org/10.4312/an.53.1-2.195-206.
Texto completo da fonteBalansard, Anne. "Peintre ou sophiste ? Figure du peintre dans trois dialogues platoniciens : République, Sophiste et Cratyle". Figures de l'Art. Revue d'études esthétiques 7, n.º 1 (2003): 189–210. http://dx.doi.org/10.3406/fdart.2003.1275.
Texto completo da fonteTrudel, Éric. "Spectres de la peinture". Études françaises 42, n.º 2 (25 de outubro de 2006): 61–83. http://dx.doi.org/10.7202/013864ar.
Texto completo da fonteVilleta-Petit, Maria. "“ Qui voit ? ”, du privilège de la peinture chez M. Merleau-Ponty". Les Études philosophiques 60, n.º 1 (1 de março de 2002): 0. http://dx.doi.org/10.3917/leph.021.0261.
Texto completo da fonteMichaud, Ginette. "Che cos’è la pittura ?" Études françaises 42, n.º 2 (25 de outubro de 2006): 103–33. http://dx.doi.org/10.7202/013866ar.
Texto completo da fonteIllouz, Jean-Nicolas. "Les Impressionnistes et Stéphane Mallarmé". Non Plus 5, n.º 10 (11 de abril de 2017): 196–208. http://dx.doi.org/10.11606/issn.2316-3976.v5i10p196-208.
Texto completo da fonteTeses / dissertações sobre o assunto "La peinture"
Souffrin, Paul. "Raymond Queneau, les peintres et la peinture". Paris 3, 2008. http://www.theses.fr/2008PA030025.
Texto completo da fontePoet and novelist, Raymond Queneau was also a painter. He was born in Le Havre on february 21, 1903, the only child of two haberdashers. What circumstances brought him to paint ? He grew up under the watchful eye of an over protecting mother. He said he complained of a lack of love during his childhood. After his baccalaureat he went to Paris with his parents and he studied at the Sorbonne and met the surrealist group. He began to frequent the Central Bureau of Surrealist Research. He met the most famous painters of the century. At a time, as he did not earn enough money with his novels he thought he could try to be a painter. He visited a lot of museums, was a friend ofMiro, Helion, Labisse, Chaissac and Dubuffet. Noël Arnaud wrote “Queneau is one with whom one can talk about painting”. As a fact, he drew and painted as a young child before he could read and write. He subscribed at the ABC School whose program was “If you can write you are able draw!”. Very few of the Queneau’s specialists have been interested by this part of his work. None of his numerous foreign translaters were. Himself recognised as soon as 1950, that his pictures where not good enough to make him an important artist, but in his poems and novels (especially The Blue flowers) he introduces a great number of painters, famous or not. Nowadays he his really recognised as one of the most important writers of the XXth century
Le, Gouic Jean-Claude. "La griffe du peintre ou le dessin dans la peinture". Paris 1, 1992. http://www.theses.fr/1992PA010535.
Texto completo da fonteVarela, Stéphanie. "La peinture animée entre peinture et cinéma". Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30094.
Texto completo da fonteMotion painting, between painting and cinema, is the work of painters who set out to create motion in painting by producing many pictures on a support of their choosing (film, celluloid, light table, glass, canvas, paper or walls), pictures intended to produce the feeling of movement after these have been saved in successive frames digitally or on film (this last step being rendered unnecessary when painting directly on film). The resulting format of a motion painting is that of a movie which when shown is animated by the rapid scrolling of the pictures. In this thesis in which Émile Reynaud (1844-1918) is presented as the inventor of motion painting, three years before the creation of cinema, a definition of motion painting is arrived at based on five necessary criteria which have been found to be : 1) The overall presence of texture in the paint applied directly to the support by the artist himself (thereby excluding films painted for colouring effects or digital colorization in animation films) 2) Movement inseparable from time and space (scrolling) 3) Shapes and contours painted not delineated by drawn lines as in cartoons 4) A painterly narrative different from that in a cinema film 5) The evidence of the artist's creative process in the spatial presentation of his work including its projection and the potential exhibition of various elements of his preparatory work Motion painting is unsuited to the usual distribution circuits of the animation film industry and therefore given little exposure. Motion painting which combines cinema, painting and installation readily finds a place in venues presenting contemporary art and its mixed media techniques
Seddaoui, Fatima. "Peinture et écriture dans l'œuvre de Marguerite Duras : un peintre du langage ?" Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20042.
Texto completo da fonteWe would like to develop the idea according to which Marguerite Duras is a painter of the language. By focusing us on the relationship between the writing and painting, we will endeavour to locate and analyze the evoked or invented tables and the images worked in works. In order to clarify the complex intertextuality which enters within the various networks of representation and on the basis of any representation. Without claiming with exhaustiveness, one can try to give an outline of this presence of painting to the background of the reflexion durassienne. How painting made it text ? And which is the stake ? It will also be a question of studying the role and the significance of painting in the novel in order to compare the statute of painting in work with that of painting. Part of this study will treat painting like sociological, intellectual and historical phenomenon (the esthetics question). Moreover, research will be centered on the bonds between the cinema and painting the study will be developed on the following points : emissions, and criticisms on the author in order to trace an overall framework of the elements in connection with the subject. We will approach in particular the presentation of the theoretical and methodological debate on the relationship between the cinema and painting. Work will weave close links between visual art and the language. A part will analyze the relationship between the cinema and painting on a significant film corpus, starting from its beginning to its last film going back to 1979. Our study will be a research and an analysis of the occurrences of painting and their significances in the filmic speech durassien. The speech on painting being confronted with several problems
Nzunguba-Ibio, Jean-Pierre. "Peintres, peinture et culture populaire à Bunia (Zaïre) : essai d'analyse socio-historique". Doctoral thesis, Université Laval, 1994. http://hdl.handle.net/20.500.11794/20110.
Texto completo da fonteChaaban, Hussein. "Role des femmes-peintres dans la peinture contemporaine au liban (1946-1986)". Paris 8, 1989. http://www.theses.fr/1990PA080459.
Texto completo da fonteThe aim of this theme is to define the role which has played by the lebanese "painters-women" in foundation and developement in the contemporary painting in lebanon from 1946 to 1986. The basic hypothesis for this work put on consideration the conditions which has encouraged the artistic activites of women, their artistic formation and their attachement with the imitation of occidental arts. Their artistic activities appear in many domains like, teaching the arts, creating the galleries, exhibiting in lebanon and many foreign countries, introducing new tendencies and technics, illustrating books and partnering in the artistic critic and investigation. The "painters-women" have known a success which has translated by obtaining various prices and reaching their paintings into international museums
Duc, Mylène. "La rêverie effrontée de la peinture : la peinture au risque du plaisir". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10168.
Texto completo da fonte"Reverie" (daydreaming) is a way for painting to try to escape in a perverse manner from the rigors of the picture. The layout of surfaces, of shades, material effects are but traces of its daytime ramblings. He who watches the reverie is mistaken into thinking reverie appears languid and as if it were asleep. Reverie of material and surfaces is a static detour that lets us reach what is already there, just like perversion can. Impudence plays at turning away from the cold crystallisation of the image by a game between background and foreground that get excited together on the surface of the painting. In order to feel something at last, painting is ready for anything : diverting objects, drowning, feigning depth, letting itself go, letting itself be absorbed, abandoning form and genre, negating others, etc. As a provocation only to be able to feel, the painting experience confirms the test of the senses as such and takes it in. It works by contagion and not by representation. It reproduces down to a letter surfaces open to the senses. The canvas as the painter's own skin. Just like love, it diverts us from a transcendental meaning to "entrust us to the absence of secret just leaving us with our truest gesture"
Brunet, Paul. "Sur la peinture-installation". Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25068/25068.pdf.
Texto completo da fonteJosso, Eléonore. "Du dépaysement en peinture". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010651.
Texto completo da fonteThe starring point of this reflection, based on a personal plastic work developed in the last ten years, is the fact that an experience that I defined "dépaysement", a kind of “displacement in painting", has become my creative process method. This pictorial research becomes the indicator of the pre-pictorial experience, starting from the space that we have seen and lived. This exploration renews itself on the canvas, by the means of a dynamic dialogue between the internal landscape and that of discovery, this displacement. In the picture the space is built, structured and shaped from black and white only. The "dépaysement" becomes the operation that causes transformations, slidings and overflowings of this space, which is not static, but keeps changing and is constantly brought into being by the Impressions, the sensations and the sensibility of the artist, because his relationship with the world changes and generates a new aesthetic, Finally the pictorial expansion, shifted towards the architecture, proposes to the spectator a new disorientation in the exposition place
Bianchi, Olivia. "Hegel et la peinture". Paris 1, 2002. http://www.theses.fr/2002PA010625.
Texto completo da fonteLivros sobre o assunto "La peinture"
Arditi, Georges. La peinture des peintres. Anglet: Atlantica, 2002.
Encontre o texto completo da fonteAzay, Lucien d', 1966- writer of postface, ed. Peinture-peinture. Paris: Éditions Galilée, 2020.
Encontre o texto completo da fonteLevantal, Philippe. Philippe Levantal: Peinture, peinture. Paris: Patouillard Demoriane, 2015.
Encontre o texto completo da fonteVignaux, Monique Du. Kathleen Scarboro Kugel: Peintures murales/peinture-miroir. [Le Port, France?]: Louk Kanou, 1993.
Encontre o texto completo da fonteBrulotte, Gaétan. L' univers de Jean Paul Lemieux. [Saint-Laurent, Québec]: Fides, 1996.
Encontre o texto completo da fonteClaudine, Allag, ed. La peinture romaine: Du peintre au restaurateur. Saint-Savin: Centre international d'art mural, 1996.
Encontre o texto completo da fonteAnne-Marie, Lecoq, e Musée des beaux-arts de Dijon., eds. La peinture dans la peinture. Paris: A. Biro, 1987.
Encontre o texto completo da fonte-, Dean Trevor 19, ed. Peinture. Paris: Marabout, 2005.
Encontre o texto completo da fonteCe que disent les peintres: Faire peinture. Paris: L'Harmattan, 2022.
Encontre o texto completo da fonteWright, Patricia. Francisco Goya: La conscience du regard. Paris: Gallimard, 1994.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "La peinture"
Granger, Catherine. "Peinture XVIe-XIXe siècles". In Historiographie de l'histoire de l'art religieux en France à l'époque moderne et contemporaine, 19–27. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.behe-eb.4.00814.
Texto completo da fonteMarcadé, Jean-Claude. "Peinture et poésie futuristes". In Comparative History of Literatures in European Languages, 963. Budapest: Akadémiai Kiadó, 1986. http://dx.doi.org/10.1075/chlel.v.13mar.
Texto completo da fonteMartinet, Marie-Madeleine. "Poésie silencieuse et peinture parlante". In Publications de la Société Internationale de Recherches Interdisciplinaires sur la Renaissance, 85–91. Turnhout: Brepols Publishers, 2015. http://dx.doi.org/10.1484/m.sirir-eb.4.00036.
Texto completo da fonteMedvedev, Alexandre. "L’essai de Marina Tsvetaeva Natalia Gontcharova. Sa vie, son œuvre". In Marina Tsvetaeva et l'Europe, 171–86. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.3370.
Texto completo da fonteImbert, Claude. "Note conjointe sur Turner et Cézanne : quand la couleur investit le temps". In La couleur en questions, 175–87. Hermann, 2023. http://dx.doi.org/10.3917/herm.menu.2023.01.0175.
Texto completo da fonte"Peinture corporelle". In Les Bali et les Peuplades Apparentées (Ndaka-Mbo-Beke-Lika-Budu-Nyari), 54. Routledge, 2017. http://dx.doi.org/10.4324/9781315279374-24.
Texto completo da fonte"»PEINTURE IDÉOLOGIQUE«". In Prenez garde à la peinture!, 87–122. Akademie Verlag, 1999. http://dx.doi.org/10.1515/9783050076959.87.
Texto completo da fonte"Peinture (Painting)". In Openwork, 218–21. Yale University Press, 2020. http://dx.doi.org/10.12987/9780300210286-034.
Texto completo da fonte"Peinture (Painting)". In Openwork, 278–87. Yale University Press, 2020. http://dx.doi.org/10.12987/9780300210286-043.
Texto completo da fonte"Poussiere/peinture". In Bataille, 175–92. Routledge, 2005. http://dx.doi.org/10.4324/9780203979570-19.
Texto completo da fonteTrabalhos de conferências sobre o assunto "La peinture"
Beyaert-Geslin, Anne. "Paysage et catégories topologiques". In Paysages & valeurs : de la représentation à la simulation. Limoges: Université de Limoges, 2008. http://dx.doi.org/10.25965/as.1236.
Texto completo da fonteFiers, William. "Perspective and the geometric control of the pictorial act". In Arts du faire : production et expertise. Limoges: Université de Limoges, 2009. http://dx.doi.org/10.25965/as.3220.
Texto completo da fonteDémoris, René. "Peinture et cruauté chez Diderot". In Littérature et arts à l'âge classique 1 : Littérature et peinture au XVIIIe s., autour des Salons de Diderot, par R. Démoris. Fabula, 2007. http://dx.doi.org/10.58282/colloques.629.
Texto completo da fonteBeyaert-Geslin, Anne. "Faire un point". In Arts du faire : production et expertise. Limoges: Université de Limoges, 2009. http://dx.doi.org/10.25965/as.3232.
Texto completo da fonteDémoris, René. "Chardin ou la cuisine en peinture". In Littérature et arts à l'âge classique 1 : Littérature et peinture au XVIIIe s., autour des Salons de Diderot, par R. Démoris. Fabula, 2007. http://dx.doi.org/10.58282/colloques.611.
Texto completo da fonteFlubacher, Christophe. "Ramuz à l’épreuve de la peinture suisse". In Ramuz et la nature. Perceptions et interdépendances. Fabula, 2023. http://dx.doi.org/10.58282/colloques.8946.
Texto completo da fonteBricco, Elisa. "Gaëlle Josse : écrire avec la peinture du xviie siècle". In L'âge classique dans les fictions du XXIe siècle. Fabula, 2019. http://dx.doi.org/10.58282/colloques.6179.
Texto completo da fonteDémoris, René. "Peinture et science au siècle des Lumières : l’invention d’un clivage". In Littérature et arts à l'âge classique 1 : Littérature et peinture au XVIIIe s., autour des Salons de Diderot, par R. Démoris. Fabula, 2007. http://dx.doi.org/10.58282/colloques.628.
Texto completo da fonteDémoris, René. "La Hiérarchie des genres en peinture de Félibien aux Lumières". In Littérature et arts à l'âge classique 1 : Littérature et peinture au XVIIIe s., autour des Salons de Diderot, par R. Démoris. Fabula, 2007. http://dx.doi.org/10.58282/colloques.613.
Texto completo da fonteSergent, Marion. "« Peinture et Temps » : la quête du mouvement chez les musicalistes". In L’art, machine à voyager dans le temps. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4742.
Texto completo da fonte