Дисертації з теми "Art roman – France (sud)"
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Raimondo, Alexia. "La représentation des prophètes dans le Midi de la France (1000-1250)." Toulouse 2, 2008. http://www.theses.fr/2008TOU20086.
The prophets representation in South of France between 1000 and 1250 has never been studied before. The previous works on this matter have solely concerned the first Christian Art period or Northern Gothic Art. Despite the creative art of the romanesque art in South of France prophets images have barely drawn interest. The iconographic analysis is made of three parts. It firstly focuses on the study of images prior to one thousand, in order to establish the origins and the reasons of these prophets representations. It is also necessary to evaluate if these romanesque pictures are the translation of existing schemes, or the consequence of a creative desire. Then the analysis focuses on exegetics writings and thoughts of clerical and intellectual circles which have often influenced iconography. Furthermore it was necessary to analyse representation of the religious theatre which sometimes contains prophets processions, ordines prophetarum. Finally, corpus images are studied from a formal standpoint and also through the analysis of different iconographic programs that surround the prophets representations, allowing to express multiple symbols that are contained in these pictures
Molinié, Sandrine. "L'iconographie du diable dans la sculpture romane du Midi de la France et du Nord de l'Espagne." Toulouse 2, 2008. http://www.theses.fr/2008TOU20057.
Towards the year thousand, the religious, social and political context favours the emergency of the devil's image. The eschatology is heavy, the Church becomes threatening, and its speech is founded on the hell fear. On and after this period, different artists, essentially sculptors, try to retrace the physique and the personality of this creature. The expression of its anthropologist form is really going to explicit and light up. All this is so ambiguous, the devil is so horrible that it becomes difficult to represent. It's only vision may be dangerous, sometimes mortal. Its image is paradoxal, no one sees it, and nevertheless everyone should recognize it. This complexity, between its definition and its representation, brings out three properties used to show its demoniac character and to make its portrait: the aggressivity, the abnormality and the immateriality. The sculptures' analysis of the South of France and the North of Spain allows exploring three specificities: the interpretation of each detail becomes important in the signification of the devil's image. This enigmatical being fed the imaginary of the people from the 11th and the 12th century. The artists endeavoured to intensify it's malefic by the ugliness, the deformation, but also the bestiality. Symbol of the very evil, the devil is its incarnation. Giving offence to the devil, the artists wanted to win it over and, in a way, to get it under control. Abject and mysterious at the same time, this strange creature is the representation of their fears the deepest and of their unconfessed phantasms
Hacia el año mil, el contexto, tanto religioso que social y político, favorece la emergiancia de la imagen del diablo. La escatología es pesada, la Iglesia se vuelve amenazadora, funda su discurso sobre el temor del infierno. A partir de este período, diversos artistas, esencialmente escultores, se esfuerzan de describir el físico y la personalidad de esta criatura. La expresión de su forma antropomorfa verdaderamente va a precisarse y desarrollarse. Emana de ella una ambigüedad, el diablo es tan horrible, que llega a ser difícil representarlo. Sólo su visión puede ser peligrosa, a veces mortal. Su imagen es paradójica, nadie lo ve sin embargo todo el mundo debe reconocerlo. Esta complejidad, entre su definición y su representación, hace resaltar tres propriedades utilizadas para designar su natural demoniaco y para elaborar su retrato : la agresividad, la anormalidad y la inmaterialidad. La análisis de las esculturas del Mediodía Francés y del Norte de España permite de explorar estas tres especifidades ; la traducción de cada detalle aparece importante en la significación de la imagen del diablo. Este ser enigmático ha alimentado lo imaginario de los hombres del XI y del siglo XII. Los artistas han buscado a intensifiar su maleficio por la fealdad, la deformación, pero también por la bestialidad. Símbolo mismo del Mal, el diablo es la encarnación de el. Formalizandolo, los artistas han querido canalizarlo y en una cierta medida dominarlo. Abyecta y misteriosa a la vez, esta extraña criatura es la representación de sus temores los más profundos y de sus fantasmas no confesados
Coulangeon, Cécile. "L’architecture religieuse des Xe et XIe siècles dans le sud-est du Domaine royal capétien." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100155.
The southeast of the Capetian royal Domain remained for a long time unknown by studies on the beginnings of Romasnesque architecture. This is largely connected to the marginal position which it occupies compared with the large sets of the historiography, an established fact which ensues as we had the opportunity to show it of a long historic evolution since the Celtic period when the zone was subdivided between Sénons and Carnutes. The first Capetian sovereigns however carried a particular interest in this region, trying in the 11th century to unify the space between their three big centers : Orléans, Étampes and Melun, in front of pushes of their bléso-champenois rivals. The architectural activity then seems to be in full swing, with very numerous constructions, certainly secondary, but testifying of a certain architectural dynamism at that time. The examination of the most important buildings, confronted with the other key realizations led by the Capetians in the rest of their royal Domain, allows us to envisage the development of a artistic policy, favoring certain architectural monumental forms as tower-hall and harmonious bedhead, in a clear will on behalf of the new sovereigns to stand out visually in the landscape, to position in heirs of their Carolingian predecessors and to stand out in front of their ottonian contemporaries, by taking back their most symbolic architectural forms. These results can’t hide on the other hand questions left unsettled, in particular as regards the datings of buildings considered here. The architecture indeed seems rather uniform, between walls with small rubbles, opus spicatum, re-uses of high-medieval sarcophagus, and beginnings of carved stone ; and the generally admitted criteria of dating oppose those of the rare preserved decorations
Ducret, Sophie. "La fabrique de la création artistique : Approche historiographique et épistémologique du processus de la commande au Moyen Âge : l’exemple des peintures murales du Midi de la France aux âges romans (XIe-XIIe siècle)." Electronic Thesis or Diss., Montpellier 3, 2023. http://www.theses.fr/2023MON30047.
Since its 'rediscovery' in the 19th century, the practice of wall painting in the Romanesqueages has benefited from a long tradition of study in France and Europe. This historiography is based on developments in a fairly recent field of study, but has been enriched by epistemological developments in related disciplines, such as history and the social sciences more generally. Following on from recent research into the players involved in artistic creation, particularly in the field of mural painting, our thesis focuses on an essential player in production traditionally referred to as the 'patrons'. On the basis of a corpus of 30 ensembles preserved in the South of France, most of which date from the twelfth century, and faced with a silence in the historical sources, we have confronted the question of 'commissioning'. The historiographical approach enables us to put into perspective certain knowledge we have gained on the subject, and to propose a new vision of artistic creation
Jaluzot, Pascal. "Architecture et décor des clochers des églises rurales en Bourgogne du Sud ( XIe - XIIe siècles)." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H021/document.
This thesis studies South Burgundy small rural churches steeple focusing on their 11th-12th centuries architecture and wall decoration. These two elements can be either connected or unrelated. This opens the door to erroneous judgments when both are approached into a single classification. In fact, the first impression mural a decoration often conveys is reminiscent of the "first Romanesque art". However, building a wall out of simply squared rubble stones and heavy mortar corresponds to the proper use of available materials and does not automatically classify the steeples in "first Romanesque art". The analysis of constructive and decorative choices made by master masons and sponsoring benefactors across the corpus of 112 steeples considered in this research reveals the existence of a typical "standard" bell tower constructive design to which a mural decoration is added. This highlights the existence of a clear constant: the choice of construction materials, simple expensive, low-tech, while also fashionable. The recurrence of this model has played a unifying role in the Christian landscape the resulting from and aspired to by the Gregorian reform
Nicolier, Anelise. "La construction d'un paysage monumental religieux en Brionnais à l'époque romane." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20120/document.
Located in South Burgundy, France, the region known as the Brionnais appears, at first glance, to be a 12th Century spontaneous by-product. It is indeed neither a natural region, nor is it of ecclesiastical division. However, in a time where frontiers separated France and Burgundy, and later the Empire, a sort of contingency will mend this disparate and marginal territory into a singularly defined region. The Brionnais will form itself through willful policies thanks to the active presence of the Semur and Le Blanc lordships. The lords of the Brionnais will form connections with neighboring lords through games of alliances and rivalries, as well as through the ecclesiastical careers of certain of their members. The result: an inland solidity, an openness to the adjacent regions; places of worship, churches and monasteries flourish in mere decades in order to construct a singular landscape of religious monuments. The latter will precisely be marked by an originality sure of itself in order to seek, adopt, interpret and make bear fruit of its influences. In all, political and artistic network as well as the religious fabrics will create an ensemble of truly rich interactions. This allowed us to renew our view on this original domain, the paradox being that the latter didn’t survive up to the 12th Century without any loss or modification, and that, under Romanesque appearances, the present Brionnais landscape was actually mainly constructed in the 19th Century! Guided by traces and documentation, I proceeded through a regressive analysis, scouring through time, in order to carefully reconstruct the history of theRomanesque Brionnais religious monuments. Going back through the contemporary and modern religious heritage, I was able go as far back as the 9th Century, thus far ignored by research: indeed, until now, research only concentrated on churches conserved above ground, whereas more than half of the churches built between the 9th and 12th Century disappeared from the observable surface. The first result is of paramount importance: we can now follow the parochial structure genesis, like a shift from an agri and villae division to a parochiae network. Once the heritage and political and ecclesiastical geography reproduced, it appeared that the particular context of the Brionnais region gave birth to a particular religiousn architecture, notably thanks to the study of the monuments’ morphology, its style, and tothe attention given to the stone used, from its provision to the work and result itself. Hence, the original profile of the Brionnais architecture. The detail of the analysis show true invention, hatched from the builders’ ability to draw formes and techniques from various repertoires to give birth to unprecedented creations.Naturally, considering the abundant Brionnais Romanesque historiography (notably the sculptured decor), I cross-checked sources of reflection, monuments, textes and images, associating construction archeology, art history, geology and history. Coming back to the paradoxical aspect, I kept the interest of favoring the 12th Century the time of History, and the Modern era, for example, spoke quite a lot about of the Romanesque Brionnais
Benard, Alain. "L'art rupestre du sud de l'Île-de-France." Paris 1, 2010. http://www.theses.fr/2010PA010620.
Linder, Inge E. "Pilgrimage to the millennium : sacred art and architecture in late twentieth-century France." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342183.
Ruellan, Patrice. "Philippe Caubère, le roman d'un auteur." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10065.
Jullian, Martine. "Formalisme et réalisme dans la sculpture romane en France : les occupations des mois." Paris 10, 1995. http://www.theses.fr/1995PA100196.
The corpus of sculpted Romanesque calendar in France which forms the object of the thesis constitutes 33 cycles, spread over 32 monuments. Each calendar receives an individual notice in which are exposed the principal problems of each, and where every scene is meticulously described and identified (volume II). The study of this corpus revolts around four points (volume I). The situation of the calendar in terms of space as much as time is grouped: the majority is implanted in a crescent spreading from lands region to burgundy and was carved between 1140-1160. In the building, the privileged position of the calendars (west facade, door way, exterior archcurves), which has helped to define a "modal architectural formula" has not been without impact on the role of theme in the church as a factor of order both spatial and in time. From the iconographical point of view, the double phenomenon of steadiness and variation has also helped to reveal a "modal iconographical formula", and mark a difference between obligatory themes and regional or individual variants. Last of all, the question is aborded as to the documentary value of sculpted calendars, works of art which were not conceived in order to capture a reality hitherto disappeared and whose aesthetic aspect must certainly be taken into consideration by the historian. The analysis of forms and themes leads to an observation of reality at the same time very fine and selective. This delicacy and selectivity within the sculptor art gives not only an undeniable documentary value to the image of material twelfth century civilization, but also a spiritual dimension. Realistic detail and at times extreme stylization, when combined at as a revealer to the expression of an ideal: fundamentally optimistic ideal of well-being
Steer, Carol Elizabeth. "The season of winter in art and literature from Roman North Africa to medieval France." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0026/MQ51799.pdf.
Villagordo, Éric. "Vers une sociologie de la pratique artistique : observations et entretiens sur la poi͏̈étique : huit plasticiens en Méditerranée." Paris 1, 2004. http://www.theses.fr/2004PA010685.
Igarashi, Jannu. "Relations entre les représentations figuratives et les signes dans l'art pariétal magdalénien franco-cantabrique." Paris, Muséum national d'histoire naturelle, 2003. http://www.theses.fr/2003MNHN0005.
In this work, the 3986 signs are counted in 28 Magdalenian caves of 6 Franco-Cantabric regions (Dordogne, Lot, Ardeche, central Pyrenees, Basque, Santander). The relations between the figurative representations and the signs are analysed by four parameters. The chronological analysis shows whether the signs were made before or after figurate representations. The thematic analysis let know whether any themes are associated with specific signs. Their chronological or thematic relations depend on the place in cave (external analyse). The most numerous figurative representations are often associated with signs. Generally, many signs are located on the flank of the animal figures (internal analyse). So, our analysis methods make the relations between the figurative representations and the signs characterized according to the types of signs, the animal or human species, the caves or the regions
Legrand, Franck. "Gens d'armes et art de la guerre dans le sud-ouest de la France (1337-1380) : oppositions et spécificités." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30023.
This thesis focuses on some military aspects in South-western France in the early years of the Hundred Years’ War (1337-1380), such as framework and strength, pays and art of warfare. It assesses the respective armies of the Valois King of France and of the King of England, Duke of Aquitany which rule the area between 1346 and 1356, and of the Viscount of Béarn as well. Specificities of the South-western part of France can be noticed on all sides, such as particular classes of men-at-arms (crossbowmen, serjeants and horsemen of lower value) or particular rates of wages. Thus, the Anglo-gascon soldiers are more like their French and Bearnese opponents than their English brothers in arms for the composition of troops, recruiting (contracts) and art of warfare. There would be a common provincial military identity, so to speak, between Gascony and Languedoc. Of course, each side have its own specificities: a great efficiency for Plantegenêt’s troops, a better organization and a larger number of soldiers for the French, with Gaston Fébus looking like a sort of synthesis of both. Common evolutions are noticeable on each side, and not only in South-western France, with the English often acting as the forerunners. From ca 1360 on officering structures (territorial commands, “auxiliarisation” and homogenization in the companies) and pay processes are simplified. Tactics of the victorious English armies (dismounted fights combined with archery) are copied and adaptated. Anglo-gascons are less interested in French practices (except for marshalls). But some areas seem immutable, such as siege warfare despite the development of the powder artillery
Jacob, Thierry. "Art et histoire : l'iconographie religieuse romane dans les églises du Forez et du Livradois : persitances pai͏̈ennes et pédagogie monastique aux XIe et XIIe siècles." Lyon 3, 2000. http://www.theses.fr/2000LYO31019.
Fuentes, Rodriguez Oscar Gonzalo. "La forme humaine dans l'art magdalénien et ses enjeux : approche des structures élémentaires de notre image et son incidence dans l'univers symbolique et social des groupes paléolithiques." Paris 1, 2013. https://halshs.archives-ouvertes.fr/tel-01337663.
Louison, Lydie. "Le roman gothique : analyse des romans en vers des XIIIe et XIVe siècles dits "réalistes"." Lyon 3, 2001. http://www.theses.fr/2001LYO31016.
Holford, Stephen Charles John. "Cocteau in London: the Lady Chapel, Notre-Dame de France." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12327.
Lázničková-Gonyševová, Martina. "Analyse technologique et stylistique d'art mobilier magdalénien sur matières dures animales : Sites de Pekárna, Rytířská et Křížová (Moravie, République tchèque), Laugerie Basse et Enlène (Sud-ouest de la France)." Paris, Muséum national d'histoire naturelle, 2001. http://www.theses.fr/2001MNHN0026.
Garland, Emmanuel. "L'iconographie romane dans la region centrale des pyrenees (avec un inventaire de l'ensemble des richesses romanes du comminges, du couse rans, du pallars, et du ribagorza)." Toulouse 2, 1996. http://www.theses.fr/1996TOU20026.
Has romanesque iconography of the central part of the pyrenees (comminges, couserans, pallars and ribagorza) any specificty which could be related to its geographical mountainous situation, its economical and political independence during the eleventh and twelfth centuries? or is it just an epigone of its brilliant, wealthy and powerful neighbours (aragon, catalunya, gascony,toulouse)? this question is the underlain to the study presented, study which is made of : a thorough inventory of the romanesque remains and churches of this area (over seven hundred are listed) and of their iconography : a study of the main themes (chrismon, majestas domini and majestas mariae, college of apostles, scenes from the life of christ and from the life of saints, temptation and redemption, pagan local themes, antique stones reused) ; the presentation of the geographical, historical, social, religious and artistic context ; the search of the meaning and of the outcome of the images ; an analysis of the cross influences with the neighbouring regions. As a result, the answer to the initial question is balanced : the central part of the pyrenees innovates around eleven hundred, but it becomes subordinate as the twelfth century goes on, except in a few marginal cases. Aside skiful masterpieces, a local art with pagan reminiscences arises lately. And in the thirteenth century, all creative springs ran dry. The region ignored the gothic renewal. Finally, the central part of the pyrenees appears to be rather specific : romanesque iconography has known a golden age (during which a couple of very interesting, important paintings and sculptures were realised) but for a very short period of time
Milet, Guillaume. "George Sand, une esthétique didactique du roman (1840-1848)." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2065.
In a context where the literary field was split between the proponents of art for art’s sake and the supporters of social art, George Sand chose to put the writing of novels at the service of the people and to use it to promote progressist ideas.Throughout the 1840s, the quest for novel format that would be in adequation with her desire to perform a spiritual magisterium on her contemporary led George Sand to subject the novel to different hybridisations and innovations. This research on writing, invites one to both reassess the role that George Sand’s oeuvre had on the rise of the novel as a genre during the first half of the nineteenth century, but also to consider the novelist as a theorist on the novel and on literature. The tension between ideological discourse and fiction narrative, respectively termed “plaidoyer” and “roman”, appears as the nerve centre of the didactic aesthetic that she invents throughout her successive experimentations. Between a control of the reception and interpretative liberties, the wish to impart a teaching involves a renewal of the enunciative posture of the author and of her relation to her readers, as well as a reorientation of the writing towards more symbolism, or poetry. In conjunction with the aesthetic choices made, a new authorial identity is gradually developed, which, despite the strong opposition to women who write, combines authority with writer’s responsibility
Baik, Seung Kyung. "Faire valoir le cinéma de qualité ˸ les labels d’art et essai en France et les salles réservées aux art films en Corée du Sud." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030008.
This present research explores the valuing process of art cinema through two markets, created mainly by the movie theater label “Art et Essai” in France and “Movie Theater for Art films” in South Korea. It traces the economic, political and practical inventions, which enabled quality cinema, or auteur cinema, to be formed and to gradually define the very notion of quality. Inspired by pragmatic ideas, this study addresses the collective experience of the audience that leads to the distinction between “going to the cinema” and “seeing a movie”. This comparative historical research of two different countries which have strong traditions of “quality” cinema reveals the importance of the relationship between the socio- economic construction of quality and the various dimensions invented by movie industry participants, who are interested not only in screening films, but also and notably in attracting spectators and creating their audiences.Despite the similarity of some general figures of their industry such as national films’ market share and cinema admissions per capita, they differ in three ways: the beginning and the development process of the quality film market; government subsidies for art houses by means of quality labels and their impact on the identity formation of quality films in the market; and finally the landscape of art houses today. Analyses of each country presented in turn, because of their great difference, are however following the same path: starting from the presentation of enlightening early stage of the film industry and of the first government intervention against the American invasion; entering into details about art film market creation, subsidy policy changes and implementation of different modes of distribution in movie theater market; and concluding with the present situation
Brugeat, Céline. "Quand l'Amérique collectionnait des cloîtres gothiques : les ensembles de Trie-sur-Baïse, Bonnefont-en-Comminges et Montréjeau." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20036.
Three cloisters attributed to the monasteries of "Trie-sur-Baise", " Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas) were purchased by American collectors and rebuilt, during the XXth century, in North America. The modern assembly of such monuments generates interest on the taste of these American amateurs, from the beginning of XXth century, for medieval European architecture. While respectively attributed to the monasteries of "Trie-sur-Baise", "Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas), the initial attribution states that the stones were from central Pyrenees monasteries, whose ruins were scattered throughout ancient times : the Hundred-year war as well as the wars of religion, the gradual desertion of religious institutions by their communities during the XVIIth and XVIIIth centuries and, at last, the alienation of their properties during the Revolution seriously damaged the integrity of monastic buildings. However, during the post-revolutionary period until the early XXth century, many discrete transactions between individuals and antique dealers further took away the stones real origin from the collective memory, especially cloisters sculptures coveted for their ornament. Identifying the cloisters provenance was the main subject of this study. The three carved marbles present various iconography ; while the "Bonnefont-en-Comminges" and "Montréjeau" ensembles both show stylized foliage ornaments, the "Trie-sur-Baise" cloister depicts original figurative scenes. Carrying out an in-depth study of these sculptures made it possible to accurately associate the cloisters to their original architectural set and production context
Han, Seokhyeon. "Le discours de Roland Barthes au Collège de France : pré-roman, trans-écriture, hyper-critique." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALL023.
What we read and listen to in the preparatory notes and the recorded words of Roland Barthes’s courses at the Collège de France is the discourse that tells the singular fantasms of a subject. This discourse oscillates between science and literature, critical language and expressive language, reality and fiction, meta-discourse and discourse-object. This particularity makes it possible to conceive of the course as a creative act and a literary experiment. The hypothesis is as follows: the three courses, independent of each other, constitute a unit around the final fantasm, the Vita Nova which is a Novel of degree zero. By naming all the fragments of the discourse, scattered throughout the course, “pre-novel”, we try to reconstruct a literary work as an architecture of fantasm, namely the novel as a discourse that dramatizes Barthes’s last journey. And we analyze four dimensions of his discourse: space, time, language and method
Melmoux-Montaubin, Marie-Françoise. "Le roman d'art chez les écrivains décadents : autour de Péladan, Huysmans, Lorrain." Paris 7, 1994. http://www.theses.fr/1994PA070086.
Gensbeitel, Christian. "L'architecture religieuse du XIe siècle en pays charentais et ses transformations à l'aube du XIIe siècle." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30063.
The aim of this research was to determine the characteristics of the religious architecture of the first Romanesque era in the ancient dioceses of Angoulême and Saintes. It also entailed comprehending the mechanisms which led to the awakening of the more intricate forms of Romanesque art in the XIIth century, and determining the early beginnings external to the two great innovative monuments : Saint Eutrope in Saintes and Saint-Pierre cathedral in Angoulême. 98 buildings were sufficiently interesting to form the object of a monographic study, and 54 others are simply listed. They all feature sections built in Opus vittatum (brick and block work). Two tendencies stand out in the Charente region : one turned towards tradition and the Carolingian past, and which continued in part until the beginning of the XIIth century and the other marked by innovative experiments which developed during the last third of the XIth century, before or during the construction of Saint-Eutrope in Saintes. Tradition is represented by buildings constructed simply without voults. There is a large majority of single naves and these constitute an element of local identity. The treatment of elements of detail, notably the openings, shows diverse influences which came from several neighbouring areas. This capacity for assimilating forms from outside is also in evidence in the most innovative achievements, where the determining factors are the construction of steeples integrated into the eastern side of the buildings and the desire to embellish the interior of sanctuaries notably by wall structures based on the multiplication of arches in the apses
Brugeat, Céline. "Quand l'Amérique collectionnait des cloîtres gothiques : les ensembles de Trie-sur-Baïse, Bonnefont-en-Comminges et Montréjeau." Electronic Thesis or Diss., Toulouse 2, 2016. http://www.theses.fr/2016TOU20036.
Three cloisters attributed to the monasteries of "Trie-sur-Baise", " Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas) were purchased by American collectors and rebuilt, during the XXth century, in North America. The modern assembly of such monuments generates interest on the taste of these American amateurs, from the beginning of XXth century, for medieval European architecture. While respectively attributed to the monasteries of "Trie-sur-Baise", "Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas), the initial attribution states that the stones were from central Pyrenees monasteries, whose ruins were scattered throughout ancient times : the Hundred-year war as well as the wars of religion, the gradual desertion of religious institutions by their communities during the XVIIth and XVIIIth centuries and, at last, the alienation of their properties during the Revolution seriously damaged the integrity of monastic buildings. However, during the post-revolutionary period until the early XXth century, many discrete transactions between individuals and antique dealers further took away the stones real origin from the collective memory, especially cloisters sculptures coveted for their ornament. Identifying the cloisters provenance was the main subject of this study. The three carved marbles present various iconography ; while the "Bonnefont-en-Comminges" and "Montréjeau" ensembles both show stylized foliage ornaments, the "Trie-sur-Baise" cloister depicts original figurative scenes. Carrying out an in-depth study of these sculptures made it possible to accurately associate the cloisters to their original architectural set and production context
Josenhans, Frauke Verena. "Avant le Sud, la Provence vue par les peintres allemands (1768-1867)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3149.
Provence is not a destination traditionally associated with German painting. Yet, this region has attracted painters from the eighteenth century onwards. Roman remains and the memory of Petrarch make it a stop on the Grand Tour and on the Kavalierstour. German artists, who were going to Italy in large numbers, paid increasing attention to the South of France by the end of the eighteenth century. The reasons that motivated them to undertake such a voyage were varied: for painters such as Jakob Philip Hackert, it is a station on the way to Italy that gives them a foretaste of the peninsula. Johann Georg von Dillis and Ludwig Richter go to the South of France at the beginning of the nineteenth century as part of princely travels. Then, in the middle of the century, Johann Wilhelm Schirmer makes the conscious decision of touring Provence in search of natural scenery different from Italy’s. The present study aims to establish a body of work documenting the presence of German artists in the South of France, and also to identify what motivated the journey, in order to demonstrate how their perception of Provence evolved from the eighteenth to the nineteenth century. The aim is to analyze the place of this region in artistic, cultural and literary history, and to identify the visual and literary sources that German artists could rely on during their voyage. The different case studies serve to demonstrate the evolution of the Germanic artistic gaze on Provence, and to illustrate the difficult entry of this territory into the canons of the period, which is particularly notable in the context of German painting
Mélot, Géraldine. "Les églises romanes du XIIe siècle en Franche-Comté." Besançon, 2007. http://www.theses.fr/2007BESA1029.
This research takes inventory of the roman churches of the XIIth century in Franche-Comté, region where present boundaries appreciably match with the former comté de Bourgogne and the diocese's borders. Among 51 buildings, numerous are partially conserved and, because of their preservation, 25 of them have been studied in monographic reports. Reports contain a concise historical study, a critic of authenticity and a short architectural analysis in order to highlight the main specificity of each building. This monographic step constitutes the heart of the research, and is a preliminary effort before a synthesis work. Synthesis has been thought in accordance with three key points: building, architectural shape and decor. The study of the building underlines a revival of interest for antique techniques: the precocious use of the notching is the more remarkable, and siding materials are as slick as possible. Interest for stereotomy justifies itself in this architecture when mural area is important. And theses churches are mainly characteristic because of their dark naves with inarticulate walls as much inside as outside, and, above all, they have a frame. Buildings are simple and austere with many citations of the past. The architectural study shows that builders used various source of inspiration from Late Antiquity (simple bearing supports, naves with row of columns, inarticulate walls, cant wall apses), Carolingian period (quadrangular pillars, low transept) or Ottonian period (alternation of bearing supports). They also integrated genuine Cistercian elements as bases and flat end. Decor is restraint, in adequacy with architecture. The comtoise sculpture is characterized by cushion capitals, ornamental and plant-decor capitals who reflect for the most of them their Carolingian origins or to the XIth century. But there are Cistercian capital shapes with slick leaf. Roman churches of the XIIth century in Franche-Comté reflect, as nowhere else, the return to the vita apostolica extolled by the Gregorian reformation
Essaouri, Mohamed. "Rapports entre le texte et l'image dans la litterature francaise du surrealisme aux annees 1970." Paris 4, 1989. http://www.theses.fr/1989PA040059.
What are the connexions between the text and the picture? these are the problems raised by this study, which establishes that the aesthetic and literary criteria that have been suggested up to the beginning of the twentieth century to form the art (by giving supremacy to poetry and then to painting) and to define the links between the picture (much emphasis being put on the illustrative role of the picture) prove to be irrelevant. This study tries to surrount the most important aspect of the new links which have been established between the painters and the writers (from the surrealism period to the seventies) links that are based upon the conception which is different from creation, benceforth considered as a production, a hesitating research following the same proceeding : pictoral and verbal collage, picturesque novel, elaboration of fictions from pictures, introduction of linguistic symbols in painting (namemy proper nouns) and at last the experimentation of the scriptural practice the pictural one, by modern writers
Genest, Renée. "Les formes circulaires sculptées : Étude de cas : la frise à médaillons du portail roman de l'église abbatiale de Cluny au XIIe et XIIIe siècles." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28813/28813.pdf.
Quaranta, Gabriele. "L'art du roman : peintures à sujet littéraire en France au XVIIe siècle (du règne de Henri IV à la régence d'Anne d'Autriche)." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010615/document.
This thesis investigates a number of pictorial decorations with literary subject in French aristocratic houses during the period from the reign of Henry IV to the beginning of the regency of Anne of Austria, especially during the 1620's and 1630·s. Critical literature has shown the important reference to the literature in pictorial patronage of Henry IV and Marie de 'Medici: from the Franciade to the Ethiopiques, from the Jérusalem Dclivercd, to the Pastor Fido. In a larger part, those subjects enjoyed a great fortune also in aristocratic patronage of crown ministers as weil as of some rebel "frondeur". During the same years, with the publication of Honoré dUrfé's .Astrée, Cervantes ' Don Quixote and many others, the novel began to impose itself as autonomous genre, to becorne an important instrument of representation but also a way of training and reflection on society and culture of modern Europe. Indeed as the epic heroes. who appeared in painting but even on stage - as protagonists of court ballets, tragedies and tragicomedies - were increasingly read and interprete in a "novel' light. So, figurative arts were involved - in their way - to this development, which is one of the nodal points of our cultural history. Starting from the specific case sets a literary subject, the ultirnate goals of this work are the analysis of the different cornmands, the different way to "read" these "histories" and to translate them in images, and the relationships between artistic patronage. literarv patronage and, in general, the links between culture and painting
Faraut, Ruelle Sandrine. "Les musées en province de la Révolution à la Libération (1789-1945) : l'exemple du Sud-Est et de la Corse." Thesis, Nice, 2015. http://www.theses.fr/2015NICE0015.
The subject of this thesis concerns museums, the oldest and the first cultural institution in France. By choosing to take the example of the South-East, it will be a question of culture, locally and following the example of the national level, became aware, from the revolutionary period, of the need to protect cultural property by creating museum institutions. It is thus the complex relationships between art, society and policy which we shall try to redraw. We shall highlight the regional cultural sense of identity
Michelet, Jacquod Valérie. "Le roman symboliste : un art de l'"extrême conscience" (Edouard Dujardin, André Gide, Rémy de Gourmont, Marcel Schwob)." Caen, 2006. http://www.theses.fr/2006CAEN1472.
Bertoni, Cren Nadia. "La sculpture sur bois polychrome des XIe et XIIe siècles en Bourgogne." Thesis, Dijon, 2013. http://www.theses.fr/2013DIJOL030/document.
For the first time, the corpus of Roman wood sculptures from Burgundy is gathered together in a catalogue, with added photographic documents and bibliography. The twenty-five sculptures are listed and studied from a stylistic, iconographic and technical point of view. In the XIIth century, an actual school of monastic wood sculpture seemed to develop within the boundaries of the duchy of Burgundy, bringing a great diversity as far as formal and technical contributions are concerned. The sculptures that are the most representative to help the understanding of those numerous contributions are thoroughly studied. Their stylistic relationships with manuscripts dating back from the Carolingian Renaissance, with the Ottonian sculpture and the contemporary monumental stone sculpture, are pointed out with the analysis of internal characteristics, setting apart different formal languages. The iconographic description shows the specific denotation used in the representation of the holy character. The technical processes of creation are compared through the direct examination of the sculptures and through the collection of usable information. For several pieces, a new dating was suggested; new sculptures and specific artists are brought to notice.The contributions of the wood sculpture from the Auvergne region are specified. The tradition of inserting relics into sculptures is put in relation to the relatively important influence it can have on the building of the shape. One chapter is dedicated to the methodology in the study of wood sculptures’ polychromes. The conservators-restorers play a crucial part in the act of scientifically collecting information attesting the evolution of artistic techniques. Some suggestions are put forward to improve the processes of examination and the collecting of information
Munck, Olivier. "Le peintre dans le roman du XIXème siècle : histoire des rapports de la littérature et de la peinture, de l'homme et du réel." Paris 4, 1994. http://www.theses.fr/1994PA040041.
The painter's figures from balzac to proust compose an original romantic art history showing the relationship between man and reality. Looked on aesthetic effects, this pastiche, from a composition borrowed to la comedie humaine, spreads out a tragedy, firming social, physiological and philosophical principles and causes, rules for the hero as for his art work. The hypothesis relies on the increasing part of painting as essential element in the evolvement of perception and creation. The comparaison between fiction and reality offers a summary of the influences of the pictural expression upon the litterary one, those reciprocal of this peculiar hero, from a fiction to another one, on his own creator, defining the connection between the thing perceived and expressed, the writing and the reader
Prévoteau, Karine. "Relations internationales, politiques publiques, marché de l’Art et Essai, trois questions préalables pour une étude de la diffusion des inédits du Sud en salle en France de 1990 à 2007." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030175.
The study of newly released films from the ‘South’ opens up interesting new perspectives for research in cinema studies. These films not only inform us about international relations, public policy and the art house cinema market in France but have also led to some original conclusions.This thesis is based on a study of 430 long feature films released in France between 1990 and 2007 from Subsaharan Africa, the MENA region, Iran, Central Asia, Asia and Latin America. In this dissertation, we propose:- an analysis of the construction of cultural diplomacy in the context of bilateral and multilateral foreign politics. This treatment operates at the levels of French and European politics and examines the place of cinema with respect to the agencies that finance film production [Fonds Sud, HBF, ACPFILMS…] as well as the larger context of external funding for audio-visual productions in general;- an assessment of the construction of public policy concerning film, with an examination of the successive strategies for coping with professional activities and the market. Here, we examine industrial relations and cooperative decision making as well as the reflections concerning the conception of cultural activity and, above all, art house cinema as a project, movement and system then later as a specialist form of production and distribution;- a study of the trajectories of a selected group of film cultures from the south. This study turns around two issues; the purported symmetry between the market of the country where the film is made and the French market as measured by production statistics [China, Iran, Argentina, Brazil, Mexico] and the question of ‘small cinemas’ [Tunisia, Lebanon, Morocco, sub-Saharan Africa]
Bourgeois, Gaëtan. "Les mustélidae (carnivora) du pléistocène du sud de la France : Approche paléontologique, biométrique et de morphométrie géométrique des genres Gulo, Martes, Mustela et Meles." Thesis, Perpignan, 2018. http://www.theses.fr/2018PERP0048/document.
In this paleontological study, several methods have been developed to test hypotheses about the utility of mustelids as a paleoecological, palaeoenvironmental and chronological signal for prehistoric Paleolithic sites. The genera Gulo, Martes, Mustela and Meles of the Pleistocene and the Holocene of the half of the South of France are studied from the angle of comparative anatomy, biometry and geometrical morphometry on a very varied material: cranial, dental and postcranial. Mustelids come from various sites differed by age, climate and altitude: Saint-Vallier, Caune de l'Arago, Orgnac 3, Lazaret, Portel-Ouest, La Fage, La Marche, Siréjol, Villereversure, the Tanne du Beau Prince, Frères Traversat’s cave, Tuchan and Ambrussum. This systemic approach made it possible to discover new tools for sexing mustelids, particularly on I3. The post-orbital constriction index that we have established provides a very clear sexual diagnosis of badgers. The slope of the regression line of P4 and upper Canines of Mustela shows a distinction between M. martes and M. foina. We confirm the great morphological variability of these small carnivores, that reflects the environments in which they live or have lived and which is more important than the specific distinction in Martes martes and Martes foina. Similarly, we propose Meles meles atavus as a chronological subspecies of the Middle Pleistocene and present at the Caune de l'Arago. In addition, M. thorali, M. palerminea, M. praenivalis have strong mandibles and slender teeth compared to their current counterparts
Sparhubert, Eric. "Les commandes artistiques des chapitres de chanoines séculiers et leurs enjeux : édifier et célébrer à Saint-Junien (XIe-XIIIe siècles)." Poitiers, 2008. http://www.theses.fr/2008POIT5002.
Among the studies devoted to the creations of different religious orders, rare are those to pose the question of the monulental ambitions of canons located outside the main dioceses capitals, particulary secular canons. This question is at the heart of the present study, witch the proposes a necessary coming and going between monograph and synthesis and of witch the main link is the encounter with an exemplary edifice : Saint-Junien. In the first place the archaeological study and the putting in perspective offer a light on the questions proper to edifices of the 11th century, and reveal a particularly creative site. And similarly study the symbolic program elaborated by the canons, centred on the passed celebration and patron saints. The venture, then invites the examination of what is happening in the other Limousin collegiale churches. Finally, the rearrangements of the building around 1200 are signs of functional modifications which generally bend the architectural order. Replaced amongst some of the furthest sites, as far away as England, they portray the great movements which have animated the clerical Church between the Lateran councils III & IV
Lejeune, Mathieu. "Recherches sur les flèches monumentales du XIIIe siècle dans le nord de la France : le cas de la tour sud de la cathédrale de Senlis." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL115.
Admired for its imposing and richly ornamented architecture, the south tower of Senlis Cathedral is one of the few 13th century monumental spires that has been preserved till today. This resolutely interdisciplinary research enlightens the progress of this ambitious project, by combining historical analysis, building archaeology and digital techniques. The superelevation of the western façade of the Cathedral underlines the ambition of the bishops of Senlis, who wished to complete the smallest Cathedral in northern France. By reconstituting the topography of Senlis in the Middle Ages, it is possible to study precisely the impact of the spire on the urban and peripheral landscape as well as the phenomena of emulation with the civil and religious towers. An archaeological study enriched by the analysis of the traces of tools specifies the reinforcement work of the western facade in anticipation of the spire. The digitalization of the tower through the scanner laser 3D method allows a detailed study, proposing an architectural, geometrical, mechanical analysis and highlighting the numerous deformations of the walls. The study of the abundant sculpted decorations provides a more precise chronology than before and articulates the construction with the first transept of the Cathedral, chronologically close. Finally, the study of the materials used in the construction of the spire enlightens the organization of the construction site, focusing on the work made, the implementation of scaffoldings and the successive stages of the construction
Fernandes, Rose. "André Abbal (1876-1953) : un apôtre de la taille directe, un renouveau possible pour la sculpture figurative classique." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20141.
Grandson and son of famous Moissac stonecutters, André ABBAL (Montech 1876 – Carbonne 1953) was said to « be born with a hammer in hand » . Even if he at first devoted himself to modeling, kneading clay according to the canon of the time, he still feels nostalgic about stones (Génie Luttant, 1913). At the end of the war he decides not to waste time anylonger and to develop what he believes to the only « true sculpture » he calls « direct carving ». His passionate quest earned him the nickname of « direct carving apostle ». « You’re asking me what true sculpture is. I cannot answer your question better than anyone else, even a child. The only true sculpture is made with with good scissors and a skillful hammer »André Abbal’s aesthetics follows the classic figurative school, those of sculptors dedicated to remain truthful to the model while reinterpreting nature from the classical period laws. He played a prominent nationale role in the « Exposition des arts décoratifs » in 1925 and « l’exposition international de 1937 » with works such as La sculpture or Le labour. This last event is the very example of a triumphant classicism. Waldemar Georges, André Abbal (1876-1953): un maître de la sculpture en taille directe, Toulouse, Editions Privat, 1966, 85 p
Dubreucq, Émilie. "Les mobiliers métalliques découverts sur les habitats du Ha à LTA : approches qualitative et quantitative proposées pour quelques sites de l'Allemagne du Sud-Ouest à la France centrale." Dijon, 2007. https://tel.archives-ouvertes.fr/tel-00731450.
At the end of Hallstatt period, settlement did not have a general end synthetic approach about metallic finds. Trough quantitative and qualitative aspects, we have suggested a definition about diversity of this material. We are understand which choices about use iron or bronze objects, depending to technical, esthetique and social criteria. Over time, the development of iron was observed in domestic circles (in the jewels for example). At more ancient period, metal was accumulated by aristocratic circles. Then it developed in the others circles (domestic and crafts). Furthermore metal was present and use on the important illfort. At La Tène A, it is different : new settlements had given metal. Excepted agricol world who stay excluded. Few objects come from far countries (south of France, Italy or Slovenia for example). These objects suggest many contacts (commercial, aristocratic and may be religious) between different communities and cultures. Finally metal is a remainiscent for craftmen, aristocraty and female but also this material was used to make a difference in statut of settlements
Guesuraga, Raphaël. "Le thème de la dévoration dans la sculpture romane de France et d'Espagne : 'Etude iconographique, enjeux politiques, aspects eschatologiques." Paris, EPHE, 2001. http://www.theses.fr/2001EPHE4035.
Feuillebois, Victoire. "Nuits d'encre : cycles de fictions nocturnes à l'époque romantique (Allemagne, Russie, France)." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5013.
This dissertation isolates in European romantic literature a particularly broad corpus of fictions with an oral frame organized in "watches", "nights" or "evenings". This bibliographic presence underlines a paradox: why does romantic literature still dream of oral practices whereas at the same time are inaugurated the modern textualisation of literature and its regulation by commercial techniques? How to combine the idea of the sacre of the writer and the nostalgia for direct speech ? The cycle of night fictions seems initially a survival or a sign of nostalgia of the antique forms of oral narration (Panchatrantra, Thousand and One Nights) : the authors appear to resurrect the technique of the frame narrative to benefit from the vitality associated with the direct exchange simulated in these texts. However, the study of this corpus shows that this romantic intertextual reading has nothing to do with a taste for archaism. Initially, the nocturnal cycle is actually an intermediate form between the literary tradition and the contemporary modifications of the literary context : it is perfectly adapted to publication in the press, but nevertheless makes it possible to restore a form of auctorial aura auctoriale by establishing an oral ambivalence which suggests a direct presence of the storyteller. The "nights" thus allow the author to adapt to the increasing mercantilisation of the literary world, while continuing to profit from the prestige associated to the romantic magi and other « poets of the night »
Lejeune, Mathieu. "Recherches sur les flèches monumentales du XIIIe siècle dans le nord de la France : le cas de la tour sud de la cathédrale de Senlis." Electronic Thesis or Diss., Sorbonne université, 2018. http://www.theses.fr/2018SORUL115.
Admired for its imposing and richly ornamented architecture, the south tower of Senlis Cathedral is one of the few 13th century monumental spires that has been preserved till today. This resolutely interdisciplinary research enlightens the progress of this ambitious project, by combining historical analysis, building archaeology and digital techniques. The superelevation of the western façade of the Cathedral underlines the ambition of the bishops of Senlis, who wished to complete the smallest Cathedral in northern France. By reconstituting the topography of Senlis in the Middle Ages, it is possible to study precisely the impact of the spire on the urban and peripheral landscape as well as the phenomena of emulation with the civil and religious towers. An archaeological study enriched by the analysis of the traces of tools specifies the reinforcement work of the western facade in anticipation of the spire. The digitalization of the tower through the scanner laser 3D method allows a detailed study, proposing an architectural, geometrical, mechanical analysis and highlighting the numerous deformations of the walls. The study of the abundant sculpted decorations provides a more precise chronology than before and articulates the construction with the first transept of the Cathedral, chronologically close. Finally, the study of the materials used in the construction of the spire enlightens the organization of the construction site, focusing on the work made, the implementation of scaffoldings and the successive stages of the construction
Voyer, Cécile. "L'image hagiographique dans l'Église : étude sur les fonctions des images monumentales des saints (XI-XIIe siècles en France)." Poitiers, 2003. http://www.theses.fr/2003POIT5008.
The study of monumental hagiographic pictures shows that the use of these pictures in churches was a major concern in the Middle Ages. Indeed hagiographic pictures have different functions in holy buildings. Together with the devotion given to saints and the maintaining of their cults, hagiographic pictures also express a political, social and cultural belief in buildings belonging to religious orders. They turn the church into a place of asserion and cohérence. Once of the functions of these hagiographic pictures is to assert the mission and the rôle that religious communauties wish to play on the local level or on the Christendom level. They permit to define the identity and the specificity of the order within a composite regular world. Hagiographic pictures are also used to keep the liturgical memory in churches for religious communities, if not for laymen. Directly or indirectly putting monumental pictures in context in an essential key to " read " them : e. G. When it inscribes itself in the network of the pictures which surround it, where it stands in the church and the context of its creation
Vignau, Mathilde. "Vers une géographie de la créativité : impacts des lieux, des activités et des événements créatifs et culturels sur le développement de la région Sud - Provence Alpes Côte d'Azur." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0339.
This geographical thesis aims to define and quantify territorial creativity in the south-eastern part of France through a multi-scales approach and by mobilizing several methods. Since the beginning of the 2000’s, the word creativity has been more and more used by local decision-makers and urban planners. But if this notion is particularly important within speeches or territorial strategies, it remains a confusing word. Therefore, our analysis first focuses on a theoretical and critical study which allows to seize the large diversity of both the stakes and limits within such a subject. At the same time, it is undoubtably necessary to complete this epistemological frame with an empirical approach based on the study of three different fields which are : the SUD – Provence Alpes Côte d’Azur region, the metropolitan area called Aix-Marseille Provence and finally, the sixteen districts of Marseille. Thank to this second part, the thesis underlines the huge diversity of creative forms (i.e. creative industries, cultural and creative amenities, big events, street-art…) and the territorial impacts that are linked to them. Finally, through several examples and by using numerous methods (i.e. statistic data, questionnaires, interviews, press analysis, maps…), this geographical thesis aims to assess the strengths and the weaknesses of territorial creativity in the south-east of France
Hartigan, Caitlin Carol. "Image, manuscript, print : Le Roman de la rose, ca. 1481-1538." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:51474485-d7f1-43f9-8fc7-c7132037e75b.
Canu, Emile. "La création collective de l'oeuvre romanesque sous la monarchie de Juillet." Rouen, 1995. http://www.theses.fr/1995ROUEL220.
As a rule, romantic creation is regarded as the final result of a personal and solitary action which is based on the use of the intimate aspects of the author's personality. Not a single novel, written under joint authorship, and claimed as such by the authors, was recorded before the 19th c. However, since the 1820s, the number of works written under joint authorship has been surprisingly high, and among them, many novels whose author's names have been famous ever since, such as G. Sand, J. Sandeau, A. Dumas, H. Monnier, A. Houssaye, Th. Gautier, Mme de Girardin, Mery, Ph. Chasles or Balzac. After grasping the notion of "literary joint autorship", many questions arise : what does this practise infer ? What can be done to understand, analyse and explain it ? Is it based on social, political, economical, cultural or artistic grounds ? Does romance express individualism, or has it on the contrary, at some point of its evolution, chosen to be written by two or more people ? This intellectual process lead to the following points of research : describing the increase of literary works written under joint authorship during the july monarchy ; studying how groups were formed ; analysing the methods of creation in joint authorship (the different steps that have been taken, the novelist's behaviour in the group) ; looking for the meaning and the use of joint authorship ; and finding out the consequences on the author's literary career. The novel written under joint authorship reflects its period and shows the novelist'attempts to give a satisfactory answer to the economical and cultural major changes of their time. Under the pretense of literary friendship, relationships tangle up. The novel written under joint authorship gives to a generation of young authors a working scheme close to the new models of handicrafts and of the artistic creation between 1830 and 1850
Le, Gallic Maï. "Le tympan de Vézelay : les peuples de la terre dans la pensée et l’art roman : traditions iconographiques et littéraires." Thesis, Rennes 2, 2012. http://www.theses.fr/2012REN20030.
Designed in the early decades of the twelfth century, the central tympanum of the the nave portal of Vezelay is one of the privileged witnesses of the iconographic revival of Romanesque art between the late eleventh and early twelfth century. Repeatedly studied, its iconography yet remains enigmatic by the rarity of its theme – the Pentecost – and more, by its peripheral scènes, bearing the image of the peoples of the earth. It is to this pattern, in its relation to its surrouding context, that this study is dedicated. The first chapter considers the historicals, intellectuals and monumentals circumstances that have witnessed the development of such a program, which reveals deep roots in the revival the community knew in the eleventh century. The second chapter, devoted to the tympanum’s iconography, perfoms its descriptive and material study before replacing it in the iconographic tradition of Pentecost. An analysis which demonstrates how the tympanum, despite its rarity, is consistent with the principles of this tradition. Finally, the last chapter discusses the pattern of the peoples of the earth. It first delivers a refined definition through the general analysis of its iconographics, literaries and conceptuals forms and traditions since antiquity. Revealing a predilection for the decorative and entertaining fields in the Middle Ages, the tympanum’s pattern accesses a rare symbolic and semantic value peculiar to the religious framework within which it takes place. Object of curiosity and image of otherness, it works here as an entry point for the worshippers, as well as it unifies the tympanum’s iconography and strengthens inherents concepts to the theme of Pentecost