Teses / dissertações sobre o tema "Leonardo , 1452-1519"

Le Bestiaire de Leonard de Vinci (datable aux alentours de 1493-1494) est une oeuvre qui s'inscrit dans le cadre de la complexe tradition litteraire-scientifique tout en etant, de plusiers facons, differenciee par rapport au corpus a facettes des ouvrages de Vinci. L'analyse des sources (le Fiore di virtu, l'Acerba de Cecco d'Ascoli, l'Histoire naturelle de Pline, et d'autres textes inspires au Physiologus grec) constitue la premiere partie de l'etude, ou grande place est donnee aux innovations de Leonard. Dans la deuxieme partie les aspects scientifiques et litteraires, qui sont presents simultanement dans l'oeuvre, viennent ainsi examines minutieusement dans l'intention de demontrer que le Bestiaire ne constitue pas simplement un emprunt aux sources, mais est plutot une contribution originale a la tradition dont elle fait partie et dont on ressent la touche creative de Leonard et l'universalite de sa pensee.

Orientador: Luiz Cesar Marques Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado.
Abstract: Not informed.
Mestrado
Mestre em História

This thesis explores the foundations of the complex and multifaceted work of Leonardo da Vinci as a whole. What underscores the universality of his research and transcends the artificial divisions of his vast body of work into modern categories of specialization, is the operation of analogy, which is grounded in a mimetic imagination. Leonardo's search is ultimately one of understanding the underlying causes that animate the universe and through analogy, his work and his world hold together. Central to my investigation of the continuity of Leonardo's analogical mode of thinking and making, are questions pertaining to the body, architecture and representation. I put forth that only by appreciating the analogical nature of Leonardo's (re)search, can one access the meaning and value of his efforts and contribution.

Orientador: Luiz C. Marques Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-07-21T19:33:46Z (GMT). No. of bitstreams: 1 Barone_Juliana_M.pdf: 8694668 bytes, checksum: 178e3c052d289b5128b2ae56d5f6e7ee (MD5) Previous issue date: 1996
Resumo: Não informado.
Abstract: Not informed.
Mestrado
Mestre em História

Orientadores: Luiz Cesar Marques Filho, Maria Cristina Louro Barbara
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A pintura Virgem amamentando o Menino e São João Batista criança em adoração, do Museu de Arte de São Paulo, atribuída a Giovanni Pietro Rizzoli, conhecido como Giampietrino aponta relações com o cenário produtivo do Cinquecento Lombardo caracterizado pela presença de Leonardo da Vinci. No entanto, a partir desta pintura podemos ampliar as possibilidades de diálogos artísticos traçados por este autor, enriquecendo a sua trajetória ainda pouco conhecida
Abstract: The painting Virgin nursing the Child and Saint John the Baptist in adoration, of the Museu de Arte de São Paulo, attributed to Giovanni Pietro Rizzoli, known as Giampietrino points out relations with the productive scenario of the Lombard Cinquecento characterized by the presence of Leonardo da Vinci. However, by this painting we can amplify the possibilities of the aesthetics dialogs traced by this author, improving the knowledge of his trajectory still obscure
Mestrado
Historia da Arte
Mestre em História

Mi primera aproximación a este trabajo de investigación se basó en la voluntad de interpretar y analizar el caballo Sforza pero en el transcurso de la investigación descubrí otros dos proyectos ecuestres adicionales que, como en el caso de la citada obra, no pudieron llevarse finalmente a cabo, lo que me llevó a optar por el título de I Cavalli. A través de estas obras ecuestres de Leonardo podemos además observar el pacto de un artista con una realidad que se resiste a su idea original. En los tres casos, la propuesta creativa de Leonardo topó con dificultades técnicas, económicas y políticas que impidieron al autor alcanzar plenamente su objetivo, lo que me indujo a hablar de una utopía pactada. Escogí el concepto de utopía como recurso literario para explicar cómo la realidad se acabó imponiendo a la ori¬ginalidad y una calidad plástica que, de haber triunfado, podría haber significado un zénit en la obra escultórica del Renacimiento. Cualquier recreación de una época, de una obra generada en otros contextos históricos y artísticos es, cuando menos, incompleta. Puede fácilmente llegar a compararse con la ingenuidad de un antropólogo que intenta estudiar con sus referencias propias y actuales un pueblo primitivo sin ser capaz de utilizar los parámetros e idiosincrasia propios de dicho pueblo. Por lo tanto es el fracaso el principio básico que constituye la libertad teórica y práctica de la presente tesis. Quiero presentar el fracaso como elemento de conocimiento. También pretende ser la tesis de un escultor que habla sobre otro escul¬tor. Por ello, que no se espere encontrar en ella una rigurosa y excelsa calidad científica, ni una sesuda investigación sobre historia del arte, sino las hipótesis de alguien formado en los talleres y fundiciones que pretende intentar comprender, entender y explicar cómo Leonardo haría su estatua del caballo.

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Bachelors
Arts and Sciences
Humanities

Customer satisfaction is a key concern in any business strategy. It is often assumed that customer satisfaction can be enhanced using e-services. E-service is defined as interactive service received via the Internet (Jiang et al., 2013). E-service has contributed to business-to-consumer (B2C) e-commerce by providing on-demand solutions to customers. The relationship with the customer is enhanced by introducing self-service options, product customisation and variety. However, there may also be negative impacts, such as techno-stress and lack of online customer assistance. The primary aim of this research was to develop a conceptual framework to describe the correlation relationship between the factors that influence customers’ adoption of e-services. Organisations use the Internet to attract customers, to conduct financial services and obtain information. This research focussed specifically on online shopping. The Grounded Theory research methodology was chosen for its flexibility and iterative comparison of data. A quantitative survey was conducted to determine the relative significance of the factors uncovered by the Grounded Theory methodology and to validate the hypothesis of the conceptual model. Customer adoption is attained where customer satisfaction is high, where the customer sees value in the service, and where there is customer loyalty or trust. To date, research has focussed primarily on developed countries. Many challenges face South Africa as a Newly Industrialised Country (NIC). The negative factors facing developing countries in terms of e-service adoption include: lack of infrastructure, economic constraints and an emergent socio-political framework. The aim of this research was to build a conceptual model for explaining interrelationships between the identified factors that have an impact on customer e-service adoption. The customer’s perception of technology-driven services affects the organisation’s reputation, which in turn affects profitability. This research will be beneficial to ii managers in local organisations that thrive on e-services. An understanding of customer preferences will lead to improvement of customer services in South Africa.
Art History, Visual Arts & Musicology
D. Litt. et Phil. (Art History)

This dissertation was primarily engaged in the study of linear and organic perspective applied to the drawing of landscape, considering the perspective as a fundamental tool in order to graphically materialize sensory experiences offered by the landscape / place to be drawn. The methodology consisted initially in the investigation of perspective theories and perspective representation methods applied to landscape drawing, followed by practical application to a specific case. Thus, within the linear perspective were analyzed and explained: the visual framing, the methods of representation based on the descriptive geometry and also the design of shadows and reflections within the shadows. In the context of organic perspective were analyzed and described techniques utilizing depth of field, the color, or fading and overlapping and light-dark so as to add depth to the drawing. It was also explained a set of materials, printing techniques and resources, which by means of practical examples executed by different artists over time, show the perspectives’ drawings and application of theory. Finally, a set of original drawings was prepared in order to represent a place of a specific case, using for this purpose the theories and methods of linear and organic perspective, using different materials and printing techniques. The drawings were framed under the "project design", starting with the horizontal and vertical projections of a landscape architecture design to provide different views of the proposed space. It can be concluded that the techniques and methods described and exemplified, were suitable, with some adjustments, to the purpose it was intended, in particular in the landscape design conception, bringing to reality the pictorial sense world perceived by the human eye

Partindo dos casos paradigmáticos de Leonardo da Vinci, com a sua extensa produção de códices manuscritos e de Albrecht Dürer, com o seu pequeno álbum de viagem aos Países Baixos, pretendemos sublinhar a coincidência da utilização do álbum ou caderno de desenhos na emergência do autor ou indivíduo como artista e como estes se revelam um suporte de excelência, reflectindo uma atitude directamente relacionada com o processo artístico em que o artista se projecta numa auto-referencialidade que antecede a obra através do desenho. O álbum de artista quer-se, no limite, uma presença constante tornando-se assim um suporte cúmplice e confidente do processo artístico quotidiano. Será nesse caso a base ideal para o registo da auto-reflexão e da auto-representação. O álbum acompanha o artista nas suas deambulações e nas suas viagens reflectindo as suas vivências e adquirindo um carácter auto-biográfico. Entendemos aqui a vida do artista, mesmo que apenas em fragmentos, como uma ou suas várias viagens metafóricas de indagação e curiosidade artística. A escolha do álbum de desenhos de Domingos António de Sequeira pretende confirmar a ideia de auto-referencialidade que regressa no caso de um dos mais importantes e polémicos artistas desenhadores na passagem do século XVIII para o século XIX e que já podemos encontrar no álbum de desenhos das Antigualhas de Francisco de Holanda. Reflectindo vários períodos da sua vida como artista, o álbum de desenhos de Sequeira reúne num único exemplar e apesar das várias interrupções e lacunas cronológicas, aquilo a que hoje consideramos um ―diário gráfico‖. A parte prática desta dissertação apresenta-se de novo e de forma circular, no formato de um ―diário gráfico‖ resultando de desenhos e apontamentos recolhidos de diversos cadernos produzidos em paralelo com a investigação.
Beginning with the paradigmatic cases of Leonardo da Vinci, with his large production of manuscripts and Albrecht Dürer with his little sketchbook from his voyage to the Netherlands, we want to stress the coincidence in the usage of those sketchbooks with emergence of the author or the individual as an artist and these implements show themselves as supports of great value. They reflect an attitude that relates directly to the artistic process and show how the artist projects himself by means of a self-reference that precedes the work of art itself through drawing. The artist‘s sketchbook is supposed to be, in the end, a constant presence, becoming thus an accomplice and a confident of the daily artistic process. I t becomes, in this case, the ideal support for the registering of a self-reflection and a self-representation. The album accompanies the artist in his travels and wanderings, reflecting his living and acquiring an autobiographical character. We acknowledge here the life of the artist, even only from some fragments, as one or several metaphorical travels of study or artistic curiosity. By choosing Domingos António de Sequeira‘s sketchbook we want to confirm this idea of self-reference, apparent in one of the most important and polemical drawing masters in the transition of the XVIIIth to the XIXth century. We can already find this same idea in Francisco de Holanda‘s sketchbook of his Antigualhas. Reflecting various periods of his life as an artist, Sequeira´s sketchbook summons in itself, even overlooking some lapses of time, that what we would consider today as a ―graphic diary‖. The practical part of our work presents itself, again in a circular way, in the format of a ―graphic diary‖ or sketchbook. It is the result of drawings and sketches taken from several sketchbooks that were made in parallel to this study.

This dissertation about Drawing combines one part theoretical and another artistic assembling trends or movements, through creators who sought and thought about fortuity in their artwork. Both formal and practical investigations were developed simultaneously bringing up questions related to the autonomy of the drawing, not relying on representation issues but enhancing values of perception and emotion. The theoretical part explores artists who reinforced the gesture as an autonomous instrument of knowledge. The artistic part begins with the processes enumerated previously in the artwork of several artists, to experiment new gestures and new expression possibilities. Were assembled techniques and materials that provided shade and form variations through the uncontrolled gesture and the flowing path of the paint, promoting the fortunate accidents (Dubuffet) describes. By staining, tracing and assembling was intended to achieve unexpected drawings

The central subject of this work is how the drawing can be fundamental and crucial as a tool for product and service development in design. The work starts with a historical analysis of the drawing theory to achieve a clear view of how sketch and drawing can stimulate creativity. This work passes through three stages. First, a historical review where is investigated the drawing as a project aid; the unique value of him; and also the differences and resemblances between sketch and drawing. Secondly, the contemporary utility given to him in the design world, where the concept of design is defined; the way drawing entered in the fine arts landscape; and the primordial functions of the drawing in the creative process used by the designer to create. Third, the elaboration of a graphic exploitation of three objects, that puts in practice some of the investigated theoretical questions, such as the use of the sketch in the first phase of a project – Discovery – when the record is as ambiguous as the own concept; and the achievement of the total definition of a project only using drawing. Based on the theoretical investigation and in the practical exploration is possible to claim that the sketch helps to define the problematic of the issues proposed to the designer and that the drawing defines the solution. In other words, the drawing provides the discovery of new forms and meanings that can result in an innovative object. The practical project revealed the possibility of drawing and sketching the same three objects with countless approaches with only one starting point. The movement and gesture were the fundamental elements to make that happen. It can confirm that the drawing benefits from a personal language, expressed by point and line. The necessary information used to the elaboration of this investigation can be found in the bibliographical list at the end of the work. All the information was analyzed and filtered to guaranteed the veracity of the work.