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Дисертації з теми "Académie de peinture et de sculpture (Marseille, France)"
Vigroux, Perrine. "Les femmes à l'Académie royale de peinture et de sculpture (1663-1793) : sociabilité, pratique artistique et réception." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30030.
Повний текст джерелаFifteen women artists will be admitted to the Royal Academy of Painting and Sculpture between 1663 and 1793. Sincethe Renaissance, Europe and France, a small number of women enjoys a certain reputation both nationally andinternationally, in arts, literature and science, thus opening the way for new talent. These women are particularlyencouraged by the philosophical theses of Francois Poulain de la Barre (1647-1723) which will enable them to occupy amore privileged in a society that crystallizes around lounges. They are small and scholarly meetings where artists invitehome men and women to discuss literature, philosophy, art but also politics. These very popular places with greatsuccess in the late seventeenth century and throughout the eighteenth century. The reception of the first women to theAcademy is in this climate quite favorable to women both socially and culturally, and politically.But this admission only remains precarious. Indeed after the entry of Catherine Perrot, January 31, 1682, it will takealmost forty years, October 26, 1720, that is again admitted a painter Rosalba Carriera. Certainly, they open the doors ofthis institution, but they are nonetheless excluded from many activities and many privileges. They do not have the rightto attend classes of the living model - which poses naked - yet fundamental lessons in teaching promoted by theAcademy, nor to compete with great prices, yet in the heart of the system emulation in fact the academicians will neverhave access to positions of responsibility. Yet they have helped to reinvent the French artistic landscape and especiallythe portrait genre. Advocating natural, they helped to renew the female locker room with more light and gauzy outfits.Badly perceived by critics, these new shirts called saplings, took part in the simplification of official portraits. At thesame time, the feminization of court portraitists offer greater opportunities to women painters. Pushing the limits stillfurther, they succeeded through portraits to invest storied history painting, genre reserved for the most accomplishedpainters and good command of anatomy.Their contemporaries through their writings or artistic works proposed an idealized image, faked sometimes deceivedthese academicians. talented women, ambitious women, academicians still managed to impose a new vision of thewoman painter
Guillin, Marjorie. ""L'anéantissement des arts en province ?" : l'Académie royale de peinture, sculpture et architecture de Toulouse au XVIIIe siècle (1751-1793)." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20080.
Повний текст джерелаThe Royal Academy of Painting, Sculpture and Architecture of Toulouse was founded in 1751 by royal letters patent. Until its termination by a Convention decree on 8th August 1793, it has been the only art academy outside Paris of that stature ever. In the 19th century, the French art historian Philippe de Chennevières-Pointel, an active advocate of provinces, presented it as a showcase of thriving guardian of regional arts that balanced the centralizing and inhibiting Paris' Royal Academy of Painting and Sculpture. Leveraging a rich corpus of documents and illustrations, most of them undescribed to this day, this study sheds a brand new light on the Toulouse Academy: its origins, the details of its rise, its daily teachings, its shortcomings and its achievements
Chastagnol, Karen. "La seconde génération des peintres de Louis XIV (1665-1715) : peindre l'Histoire : formation, culture visuelle et production." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30035.
Повний текст джерелаThrough which terms History painting is changing under the reign of Louis XIV? History painting evolves during the period which covers the second part of the reign of Louis XIV. This change is due to modifications dependent on the evolution of the Royal commissions and of the Academic framework itself, as well as the transformation of the context of creation apart from the Royal Academy which renews the way of apprehending and conceiving the History painting. From the study and analysis of the works of History painters members of the Royal Academy of Painting and Sculpture between 1673 and 1694, this thesis reconsiders the criteria of evolution of historical style in painting at the turn of the XVIIe Century. To begin with, the artists’ training and the definition of History painting at that time shall be discussed (I). Then we shall analyze the production of these painters for the Royal Academy and for the King after their approval within the Royal institution (II). Furthermore, in order to define better the History painting characteristics at this time, the study of the works for private individuals and religious institutions (i.e. apart from the Royal Academy) will question the historiographic vision which claims that History painting comes from a crisis; it will also clarify its new ways of transformation, in particular through the hybridization of styles (III)
Faure-Carricaburu, Emmanuel. "La hiérarchie des genres dans l’Académie Royale de Peinture et de Sculpture : institution, discours, œuvres." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080045.
Повний текст джерелаThe hierarchy of genres has long been presented by art historians with an interest in the French Royal Academy of Painting and Sculpture, as the symbol of an « official doctrin » supposedly dominating the institution. Because it was never meticulously defined in conjonction with the study of archives such as statutes and conference reports, it slowly became common knowledge, to the point where the complexity of its terminology was sometimes reduced to nothing more than the foreword to Conférences by Félibien. So it became the subject of a theoretical conflict between on the one hand detractors of the Academy, which they accused of suffocating the creativity of artists, and on the other, people who believed in its rehabilitation against the exaggerations of traditional historiography since the 19th century. The perspective of this research takes root in the cracks of these approaches : because questioning the institutional meaning and function of the hierarchy of genres, as well as the internal resistance to it, allows us to assess the Academy as the host of a conflict born from the connection between the notions of art and power one can find within. My focus is precisely the incorporation of this rule within a program (in Foucault’s sense of the term) – which materialised through the writing of the statutes of 1663, which afford superior status to history painting over other genres, as well as through the production of an official discourse. The work of Desportes, Santerre, Chardin for instance are all responsible for destablising hardened genre identities through regulations, and they suggest a prolific line of thought relating to the use of the dynamic notion of genres
Faure-Carricaburu, Emmanuel. "La hiérarchie des genres dans l’Académie Royale de Peinture et de Sculpture : institution, discours, œuvres." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080045.
Повний текст джерелаThe hierarchy of genres has long been presented by art historians with an interest in the French Royal Academy of Painting and Sculpture, as the symbol of an « official doctrin » supposedly dominating the institution. Because it was never meticulously defined in conjonction with the study of archives such as statutes and conference reports, it slowly became common knowledge, to the point where the complexity of its terminology was sometimes reduced to nothing more than the foreword to Conférences by Félibien. So it became the subject of a theoretical conflict between on the one hand detractors of the Academy, which they accused of suffocating the creativity of artists, and on the other, people who believed in its rehabilitation against the exaggerations of traditional historiography since the 19th century. The perspective of this research takes root in the cracks of these approaches : because questioning the institutional meaning and function of the hierarchy of genres, as well as the internal resistance to it, allows us to assess the Academy as the host of a conflict born from the connection between the notions of art and power one can find within. My focus is precisely the incorporation of this rule within a program (in Foucault’s sense of the term) – which materialised through the writing of the statutes of 1663, which afford superior status to history painting over other genres, as well as through the production of an official discourse. The work of Desportes, Santerre, Chardin for instance are all responsible for destablising hardened genre identities through regulations, and they suggest a prolific line of thought relating to the use of the dynamic notion of genres
Manceau, Nathalie. "La mise en mots de l'oeuvre d'art : les écrits de Baillet de Saint-Julien et la genèse de la critique d'art en France au XVIIIe siècle." Paris 10, 2009. http://www.theses.fr/2009PA100130.
Повний текст джерелаThe purpose of this paper is to study the first documented art review published in the press and in brochures on the exhibitions by the Académie Royale de Peinture et de Sculpture at the Salon du Louvre. Greater emphasis is given to the work of Guillaume Baillet de Saint-Julien (1726-1795) who wrote texts on several “salons” as well as the first French poem on painting. Through research into archives, it was possible to piece together his biography and career as both a critic and collector who particularly appreciated drawings, engravings and French paintings. His “salons” are set against those of his contemporaries (La Font de Saint-Yenne, Gougenot, Laugier, Estève, Fréron, etc. ) as well as articles printed in the Mercure de France and the Journal de Trévoux to give both an overall and specific account of the origins of art reviews around 1750. This text focuses on the way in which works of art are translated into words and how judgment is expressed. Reviews are not transparent reflections of the work and consist of many diverse and contradictory dimensions. The authors use artistic discourse, follow the literary expectations of the time (while rejecting any form of erudition) to improve their position in society. The Baron de Saint-Julien was following his personal ambitions at a time when laymen were taking an interest in fine arts, much to the dismay of the Académie. Fascination with works of art does not include the artist whose role is minimised while critics use various strategic arguments to legitimise their positions. These new texts are written by non-specialists for laymen who crave greater ownership of these works of art through oral and written assessment
Joly, Morwena. "La polémique anatomique dans les arts visuels français du XVIIIe siècle ou l'imaginaire de l'intérieur du vivant." Paris 1, 2005. http://www.theses.fr/2005PA010653.
Повний текст джерелаBlaney, Gerald W. "Nicolas Poussin, Charles Le Brun and the Royal Academy of Painting and Sculpture, Paris 1648, a kinship of aesthetics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50497.pdf.
Повний текст джерелаBedard, Sylvain. "Les académies dans l'art français au XVIIe siècle (1630-1720)." Paris 4, 1999. http://www.theses.fr/1999PA040064.
Повний текст джерелаBoyer, Sarah. "D’après l’antique et les maîtres : copies dessinées des pensionnaires de l’Académie de France à Rome et de leur entourage sous la direction de Charles-Joseph Natoire (1752-1775)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040130.
Повний текст джерелаThe aim of this dissertation covers the practice of copying after the Antique and Masters at the French Academy in Rome while Charles-Joseph Natoire was its director between 1752 and 1775. It relates to the field of drawing and extends to the artists who gravitated around this institution. First the institutional context is considered, the premises and compulsory classes, in order to define the context in which drawing after the Antique and the Masters was practiced. The creation of painted copies outside the Palazzo Mancini raises the question of a dichotomy between models imposed and the choices of the pensionnaires when they were drawing studies in the basilicas, churches, palaces and museums of Rome. The second section provides a comparative analysis between the ancient and modern sources chosen and the pensionnaires’ interpretation of them. It provides an overview of the most commonly visited locations, the types of works favoured and the reception both of antiquity and sculptures and paintings from the Quattrocento to the Settecento. A study of four connoisseurs who commissionned drawings shows their influence on the pensionnaires’ work and allows other uses of drawn copies to be defined. Finally the conservation and circulation of drawings as material evidence of the relations between pensionnaires and those close to the Academy is examined. These confirm the role as a model assumed by some and the functions of the copy beyond an artist’s time as a student in Rome
Книги з теми "Académie de peinture et de sculpture (Marseille, France)"
Académie royale de peinture et de sculpture (France), ed. Conférences de l'Académie royale de peinture et de sculpture. Paris: Beaux-arts de Paris, 2015.
Знайти повний текст джерелаValenciennes, Archives municipales de, Bibliothèque municipale de Valenciennes, and Valenciennes (France). Musée des beaux-arts., eds. L' Académie de peinture et de sculpture à Valenciennes au XVIIIe siècle. [Valenciennes]: Edition de la Société des amis du Musée de Valenciennes, 1986.
Знайти повний текст джерелаJacqueline, Lichtenstein, and Michel Christian, eds. Les conférences de l'Académie royale de peinture et de sculpture. Paris: Ecole nationale supérieure des Beaux-Arts, 2007.
Знайти повний текст джерелаDuro, Paul. The academy and the limits of painting in seventeenth-century France. New York: Cambridge University Press, 1997.
Знайти повний текст джерелаBachaumont, Louis Petit de, 1690-1771. and Fort Bernadette, eds. Les Salons des "Mémoires secrets" 1767-1787. Paris: Ecole nationale supérieure des Beaux-arts, 1999.
Знайти повний текст джерелаCastex, Jean-Gérald. Les conférences au temps de Jules Hardouin-Mansart, 1699-1711. Paris: Beaux-arts de Paris les éditions, 2009.
Знайти повний текст джерелаBenhamou, Reed. Regulating the Académie: Art, rules and power in ancien régime France. Oxford: Voltaire Foundation, 2009.
Знайти повний текст джерелаEmmanuelle, Brugerolles, ed. L'académie mise à nu: L'Ecole du modèle à l'Académie royale de peinture et de sculpture. Paris: Beaux-arts de Paris Cabinet des dessins Jean Bonna, 2009.
Знайти повний текст джерелаHeinich, Nathalie. Du peintre à l'artiste: Artisans et académiciens à l'Age classique. Paris: Editions de Minuit, 1993.
Знайти повний текст джерелаPhilippe, Le Leyzour, Daguerre de Hureaux Alain, Musée des beaux-arts de Tours., and Musée des Augustins, eds. Les peintres du roi, 1648-1793: Musée des beaux-arts de Tours, 18 mars-18 juin 2000, Musée des Augustins à Toulouse, 30 juin-2 octobre 2000. Paris: Réunion des musées nationaux, 2000.
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