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Статті в журналах з теми "Histoire Lithographie"
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Bouquet, Olivier. "Un ancien régime typographique: Culture manuscrite, société graphique et ponctuation turque ottomane." Annales. Histoire, Sciences Sociales 76, no. 1 (March 2021): 85–116. http://dx.doi.org/10.1017/ahss.2021.46.
Повний текст джерелаАнотація:
Un ancien régime typographique: Culture manuscrite, société graphique et ponctuation turque ottomaneLa présente étude substitue une analyse technique et graphique des opérations typographiques à l’approche politique et culturelle qui met habituellement l’accent sur les obstacles opposés à l’apparition de l’imprimerie dans l’Empire ottoman. Au-delà d’une démarche historiographique centrée sur les échecs de la modernisation culturelle, un examen combiné des caractères typographiques et des signes de ponctuation invite à proposer une histoire conjuguée de l’imprimé et du manuscrit. Celle-ci, tournée vers l’étude des vitalités textuelles, met au jour des convergences entre les productions calligraphiques, les expérimentations de la typographie et les progrès de la lithographie. Elle relie le travail du typographe aux actions de la main, les activités de l’éditeur aux productions de l’auteur, l’impression des matrices aux inscriptions de la plume. La ponctuation est un terreau d’innovation qui propose, au fil de ses modalisations, de nouvelles insertions, créations et hybridations contribuant au développement de la société graphique ottomane : les gens de l’écrit (scribes, copistes, lettrés, mais aussi éditeurs, typographes et imprimeurs) produisent des textes en fonction d’une culture manuscrite, de contraintes techniques et des caractères propres à la langue turque ottomane. Dès lors, une approche technique de l’ensemble des formes de production écrite permet d’ouvrir un nouveau chantier : celui d’une histoire croisée de la langue et des textes.
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Mirzorakhimov, A. "HISTORICAL AND RELIGIOUS LITHOGRAPHIC BOOKS ON THE LITERARY HERITAGE OF UZBEKISTAN." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 11 (November 1, 2022): 24–32. http://dx.doi.org/10.37547/history-crjh-03-11-05.
Повний текст джерелаАнотація:
Although books on the history of Central Asian petroglyphs have been widely published, no scientific research has been carried out in this regard to date. Of course, there are specific reasons for this situation, first of all, the rise of ideas that the people of Central Asia were backward and illiterate in the period before the October coup d'état of 1917, attempts to falsify knowledge about historical periods that educate the population in the spirit of patriotism and freedom, the study of lithographic books about history hindered in a way. Also, the focus on handwritten books in the coverage of historical processes has led to the exclusion of historical lithographic books. However, lithographic books were important not only from a source point of view, but also from a social point of view. It should be noted that the wider spread of manuscript books, as well as the social factor of lithographic books, allowed for the wide distribution of important historical sources among the population. Taking into account the fact that the work “History of Mullozoda” was published several times in lithographs, it is possible to know how widespread it was among the population [1].
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Lund, Sarah E. "Fossils: Lithography’s Porous Time and Eugène Delacroix’s Faust Marginalia." Nineteenth Century Studies 35 (November 2023): 1–32. http://dx.doi.org/10.5325/ninecentstud.35.0001.
Повний текст джерелаАнотація:
Abstract The new printing technique of lithography, which flourished in the early nineteenth century, has been examined for its connections to Romantic ideals of artistic subjectivity, to the liberal press, and to a boom in visual media. This article centers lithography’s unique materiality to investigate the significance of its new technique—its use of limestone—that establishes compelling connections to natural history and new conceptions of time. Eugène Delacroix’s (1798–1863) unruly marginalia, which populate the borders of the first printer’s proofs of his 1828 lithographic illustrations of Johann von Goethe’s (1749–1832) Faust, serve as a case study. Drawn on and printed from lithographic limestone, the marginalia can be interpreted as fossils. This article examines how lithography facilitated new conceptions of history, time, and memory that provided grounds for a Romantic artist like Delacroix to blur the boundaries between the human and the earthly, the artificial and the natural, the ephemeral and the historic, to find within the liminal the production and reproduction of transgressive forms that persisted throughout his artistic oeuvre.
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Young, Tom. "The ‘Autographic Self’: Facsimile Signatures and Lithographic Portraiture at the Crossroads of Liberalism, Romanticism and Nationalism, c. 1800–60." Cultural History 12, no. 2 (October 2023): 168–200. http://dx.doi.org/10.3366/cult.2023.0286.
Повний текст джерелаАнотація:
This article traces the cultural history of a portrait format popularised through the global expansion of lithographic printing. This format combined a traditional portrait vignette with a lithographic facsimile of the sitter’s signature. Such ‘facsimile-autographed’ portraits evoked the notion that sitters had physically signed their own likenesses – testifying not only to the veracity of the depiction, but displaying an indexical trace of embodied agency. The article argues that this format afforded a particularly cogent way to conceptualise and communicate ideas about selfhood and society in liberal, romantic, and nationalist political programmes. Such lithographic portraits did not simply ‘encode’ or ‘reflect’ these new ideas, however, but were part of a technological revolution that decentralised the production of mass media and thereby reshaped the societies in which such novel ideas flourished. By connecting the various expressions of public selfhood found in facsimile-autographed portraits to the way lithography expanded audiences and reshaped modes of conceptualising public and private life over the course of the nineteenth century, this article argues that established scholarly concepts like the ‘romantic self’ or ‘liberal self’ might be reconsidered through a new, technomaterial heuristic: the ‘lithographic self’.
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Baishya, Amit R. "Postcolonial Lithographies." KronoScope 20, no. 2 (November 16, 2020): 215–38. http://dx.doi.org/10.1163/15685241-12341469.
Повний текст джерелаАнотація:
Abstract This article explores how considerations of deep time—not just deep human histories, but inhuman ones as well—can help us re-evaluate postcolonial literary works in the wake of the Anthropocene. I focus on the representation of “lithic time” through a reading of the Martinican writer Patrick Chamoiseau’s novel Slave Old Man. Chamoiseau’s novel has had some traction in animal studies recently because of his conjoined portrayal of the mutual degradation and eventual enslavement of a human and a dog in a colonial plantation in Martinique. I argue, however, that a consideration of stones and lithic time in the novel facilitates a push beyond the located aspects of interspecies relationships and opens portals to contemplations of the inhuman dimensions of geohistorical time. This article looks at the inhuman temporal dimensions of stone in Chamoiseau’s novel, while simultaneously reflecting on how a deep time perspective can assist us in reconceptualizing postcolonial literary analytical strategies.
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Roozeboom, Fred. "(Gordon E. Moore Medal for Outstanding Achievement in SSS&T) Moore’s Law Sustained by Non-Lithographic Technologies." ECS Meeting Abstracts MA2023-01, no. 29 (August 28, 2023): 1774. http://dx.doi.org/10.1149/ma2023-01291774mtgabs.
Повний текст джерелаАнотація:
Since G. Moore’s historical observation [1] that the functionality per chip (bits, transistors) as well as MPU performance (clock frequency in MHz × instructions per clock = millions of instructions per second) doubles every 1.5 to 2 years, the semiconductor industry has continued to grow to over 600 G$ in 2022 [2]. The IRDS 2022 Roadmap [3] catches the scaling challenges faced for the upcoming decades by the term ‘3D Power Scaling’. This period is the third in a sequence of eras that started early on with straightforward geometrical scaling by continuous shortening of the wavelengths (from regular UV to deep UV/immersion) used in the lithographic patterning of planar transistor structures (Fig. 1a). In the second, almost past ‘equivalent scaling’ era, new superior material properties and critical dimensions nearing single-digit nanometer values could still be realized by cost-effective technology solutions, often in spite of the delay in (EUV) lithography solutions. Ever more complex device architectures requiring extreme edge placement accuracy, layer conformality and shape fidelity in all processing steps (deposition, etching) could be fully 3D-integrated into vertical intra- and inter-chip concepts (Fig. 1b) thus alleviating the need for new capital-intensive lithography tools capable of higher resolution (~ 40% of total tool costs). Figure 2 illustrates the development in the past 65 years of the non-lithographic technologies that have sustained Moore’s Law, as driven by continuous downscaling of CMOS devices. Two extra trends have set in half way (~1993): single-wafer processing and heterogeneous device integration. The latter development, often coined as More than Moore, a term that was introduced in the 2005 ITRS Roadmap, and refers to the silicon-compatible integration of devices with functionalities that do not necessarily scale according to Moore's Law, but provide additional value in different ways. The More-than-Moore approach allows for the incorporation of non-digital functionalities (e.g., RF communication, passive components, power control, sensors, actuators) that can flexibly move from the system board-level into the package (SiP) or onto the chip (SoC). We will discuss a kaleidoscopic view of the author’s activities in Rapid Thermal Processing, RIE etching for TSVs, RF-SIP integration of passives, and Atomic Layer Processing (deposition, etch, and cleaning). In sub-10 nm scaling and fabrication of 3D architectures, especially the techniques of ALD and ALE have manifested to cost-effectively bridge the record incubation time needed to bring EUV technology from prototype to commercial use. More importantly, these unique techniques can be used to create advanced devices in dedicated isotropic (thermal and radical-enhanced) and anisotropic (directional and ion-enhanced) processing modes. Here, energetic species (radicals and/or ions in a plasma) are used in one or two steps, with the ions yielding anisotropic profiles (used in FinFET logic and 3D NAND memory), and neutrals and radicals yielding isotropic profiles used to deposit or etch the features in horizontal nanowires, nanosheets and ‘forksheets’ in GAA-FETs. 1. G. Moore, Cramming more components onto integrated circuits, Electronics 38(8), (1965) 114-118. 2. https://www.semiconductors.org/global-semiconductor-sales-increase-24-year-to-year-in-october-annual-sales-projected-to-increase-26-in-2021-exceed-600-billion-in-2022/ 3. International Roadmap for Devices and Systems (IRDS™) 2022 Edition - IEEE IRDS™. Fig. 1. a) Different scaling ages for device manufacturing; b) the planar-to-GAA transition; after [3]. Fig. 2. Historic and future perspectives of non-lithographic key technologies in IC scaling. Figure 1
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Anikeeva, T. A. "The Sali Bauatdinov's manuscript sub-collection within the manuscript collection from the Karakalpak institute of humanities of the Academy of sciences of the Republic of Uzbekistan / Nukus." Orientalistica 6, no. 2 (September 6, 2023): 239–48. http://dx.doi.org/10.31696/2618-7043-2023-6-2-239-248.
Повний текст джерелаАнотація:
This article is a continuation within a research series, which deals with hand written and early printed books, which constitute a Manuscript Collection housed at the Karakalpak Institute of Humanities of the Karakalpak Branch of the Academy of Sciences of Uzbekistan (City of Nukus, Karakalpakstan). The Collection contains several hundred manuscripts, early printed books and lithographs in Arabic, Turkic and Persian languages from 18th to the middle of the 20th cent. This diverse Collection itself is a clear evidence of the development of the book culture in Karalpakistan. An important part of the whole Collection is a recently acquired subcollection of ca 150 items (handwritten, early printed and lithograph books) mostly from the 19th–20th cent., which did belong to Sali Bauatdinov. The sub-collection comprises tafsirs, works on fiqh, Turkic Sufi literature (Sufi Allah Yar) and Persian poetry, Arabic fiction of the 20th century, etc.Work in progress on this collection, which includes description and attribution of various items was started last year.
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Shackel, Paul A. "The Unchecked Capitalism Behind The Bird’s-Eye View." Pennsylvania History: A Journal of Mid-Atlantic Studies 91, no. 1 (2024): 26–46. http://dx.doi.org/10.5325/pennhistory.91.1.0026.
Повний текст джерелаАнотація:
ABSTRACT By the middle of the nineteenth century, the development of bird’s-eye views, or panoramic lithographic maps, became a popular vehicle for Americans to promote their towns and cities. Today, they are important for understanding late nineteenth-century geography, the spatial layout of towns, and architecture. Examination of one of these maps, “Miner’s Mills and Mill Creek,” in the anthracite region, shows the care and precision of the mapmaker, T. M. Fowler. A deeper reading of the map enables us to reveal a more complicated story of the community’s past. Researching the history of one anthracite town shows how the anthracite industry led to environmental, social, and psychological trauma, which continues today. While coal mining is now almost nonexistent, a social history of anthracite communities represented via panoramic lithographic maps can provide a long-term history of past traumas.
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Le Men, Ségolène. "Une lithographie de Daumier en 1869, Lanterne magique ! ! !.." Revue d'histoire du XIXe siècle, no. 20/21 (June 1, 2000): 13–37. http://dx.doi.org/10.4000/rh19.207.
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Blum, Ann. ""A Better Style of Art": The Illustrations of the Paleontology of New York." Earth Sciences History 6, no. 1 (January 1, 1987): 72–85. http://dx.doi.org/10.17704/eshi.6.1.5635758n4521384g.
Повний текст джерелаАнотація:
James Hall, like other authors and editors of 19th-century American state and federal surveys, learned first hand that publishing illustrations was time-consuming, frustrating and expensive. But illustrations were indispensible, providing the graphic communication of morphology that justified the author's taxonomic decisions. That essential information, however, passed through the hands of an illustrator and either an engraver or lithographer before it reached the scientific audience that would test and judge it. Artists and printers, therefore, needed close supervision; plates required careful proofing and sometimes cancellation. Hall, like his colleagues, vastly underestimated the time and expense that his project would entail. The plates illustrating the Palaeontology reflected changes occurring in American science and printing. Over the decades spanned by the publication, picture printing techniques changed from craft to industry, and converted from engraving to lithography; so did the New York survey. Meanwhile, the scientific profession developed illustration conventions to which publications with professional intent increasingly conformed. These conventions combined standards of "accuracy" with issues of style to reflect both scientific activity and its social context. The early illustrations drawn by Mrs. Hall were no less "accurate" although clearly less polished than the collaborations between R.P. Whitfield and F.J. Swinton, or the later work of J.H. Emerton and E. Emmons, Jr. The artists and printers of the Palaeontology plates emulated and contributed to the emerging national style of zoological and paleontological illustration, and thus helped consolidate the "look" of American science.
Дисертації з теми "Histoire Lithographie"
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Bobet-Mezzasalma, Sophie. "La lithographie d'après les peintres en France au XIXe siècle : essai sur une histoire du goût, 1798-1913." Paris 4, 1999. http://www.theses.fr/1999PA040210.
Повний текст джерелаАнотація:
La lithographie d'après les peintres en France est un phénomène artistique majeur au XIXe siècle, jusque-là négligé par les historiens d'art. Née en Allemagne en 1798, la découverte de Senefelder est rapidement diffusée en Europe. Apres un premier essai franco-anglais de traduction des chefs-d’œuvre du Louvre, la lithographie d'interprétation connait en Allemagne une vogue sans précèdent dont le modèle se propage en Europe. La tradition du burin académique en France oppose sa prééminence au nouveau procédé, notamment dans la copie des maitres anciens. Néanmoins dès son introduction en France, les artistes s'emparent de la nouvelle invention, et développent un art original, tout en lui confiant la traduction de leurs œuvres. Or les peintres furent particulièrement attachés à leurs droits de reproduction, comme le révèle leur position vis-à-vis de la loi de 1841 relative à la propriété intellectuelle. La lithographie d'interprétation connait son apogée entre 1840 et 1860, avec Mouilleron et l'équipe de Bertauts, qui ont su la faire apprécier comme un art véritable. Son déclin à partir des années 1860 est en fait celui de l'estampe d'interprétation en général.
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Bouquin, Corinne. "Recherches sur l'imprimerie lithographique à Paris au XIXème siècle : l'imprimerie Lemercier (1803-1901)." Paris 1, 1993. http://www.theses.fr/1993PA010729.
Повний текст джерелаАнотація:
La lithographie n'est pas seulement une technique parmi d'autres, c'est aussi le moteur d'un bouleversement dans le monde de l'image au XIXeme siècle. Née avec le début du siècle elle le marquera tout en évoluant techniquement vers la photographie. L'angle choisi pour ces recherches est celui de l'imprimeur, souvent négligé par rapport aux artistes. Tous ces imprimeurs-lithographes, en majorite d'origine modeste et dont l'age varie entre 35 et 45 ans, sont arrivés par hasard ou par ambition à la lithographie. Généralistes pour la plupart, certains se sont specialisés dans un genre d' image. Peu connue dans son ensemble, cette profession est pourtant bien intégrée au sein des métiers du livre. Quelques noms ont traversé le siècle comme celui de Rose-Joseph Lemercier, l'homme d'affaire ambitieux mais sensible à la lithographie artistique. Parcourant sa carrière, les images d'artistes comme Achille Deveria, Eugène Ciceri, Rodolphe Bresdin ou Odilon Redon cotoient celles d'affiches et d'estampes populaires. La production immense de cette imprimerie complète l'étude du parcours de son fondateur, de l'artisan vannier au chef d'entreprise en plein coeur de Paris, et ouvre les perspectives des multiples utilisations du procédé, notamment dans l illustration du livreLithography is not only a new technique among others, it is also the impulse of an overthrow in the world of picture during the nineteenth century. Born with the century, this invention will mark it, evolving technically toward photography. These researches focuse on the printers often reglected as compared to the artists. All those lithographic printers, mainly of modest origin, because lithography by accident or ambition. Most of them were general printers albeit a few were specialized in a particular type of picture. Little known on the whole, this profession was really a part of the book business. A few names are still known today, among these is Rose-Joseph Lemercier, ambitious business man sensitive to artistic lithography. During his career, pictures from artists like Achille Deveria, Eugene Ciceri, Rodolphe Bresdin ou Odilon Redon are printed along with posters or popular prints. The important production of this printing-works conclude the study of his founder, from his activity of basket-maker to the position of head in his firm, and shows the perspectives of the numerous uses of this new technique, especially within illustrated books
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Lecosse, Cyril. "Jean-Baptiste Isabey (1767-1855) : l'artiste et son temps." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20119.
Повний текст джерелаАнотація:
Jean-Baptiste Isabey (1767-1855) connaît une carrière exceptionnellement longue qui s’étend de la Révolution au Second Empire. Après avoir exposé ses premières œuvres au Salon de 1791, cet élève de Jacques-Louis David s’impose sur la scène artistique du Directoire comme le premier dessinateur et miniaturiste de son temps. En s'inscrivant dans un contexte favorable à la diffusion de portraits de moindre coût et de moindre format, sa réussite peu commune rend compte de l'évolution des critères de la reconnaissance artistique à la fin du XVIIIe. Elle témoigne également de la promotion du statut social de l'artiste autour de 1800. Lié aux proches du clan Bonaparte sous la Consulat, Isabey est un des portraitistes de la période les mieux introduits auprès des élites. Son habileté à exploiter des sujets qui répondent aux goûts de ses contemporains permets de mesurer l'importance des relations mondaines dans la naissance et la diffusion des réputations artistiques au tournant du XIXe siècle. Entre 1800 et 1805, Isabey est l'auteur de plusieurs grands dessins de propagande qui scandent les principales étapes de la consolidation du nouveau pouvoir. Familier de la noblesse impériale, l'artiste accumule honneurs et commandes officielles au lendemain du Sacre. Sa réputation est associée aux portraits miniatures de l’Empereur destinés à la caisse des présents diplomatiques et à quelques-unes des plus célèbres représentations officielles de Marie-Louise et du roi de Rome. Ses responsabilités sont extrêmement variées et sa production considérable : il est à la fois peintre des relations extérieures, dessinateur du cabinet et des cérémonies et décorateur en chef de l'Opéra. L'étude de ce parcours pluridisciplinaire offre un champ d'étude remarquable, qui nous fournit bien des clefs pour comprendre la carrière et le statut des artistes de cour sous l'Empire. Après Waterloo, Isabey est mis à l’écart du pouvoir en raison de ses engagements bonapartistes. L'artiste exécute alors plusieurs caricatures et portraits qui le montrent prompt à critiquer la monarchie restaurée. L'analyse des effets de la résistance au régime royaliste dans le monde des arts entre 1815 et 1820 aide à saisir le sens de son engagement dans l'opposition. La période qui s’ouvre au lendemain des Cent-Jours est également fondamentale pour comprendre le parcours artistique d'Isabey et pour apprécier la place que lui assignèrent ses contemporains dans l’art de la première partie du XIXe siècle. Son abondante production, qui se décline en miniatures sur vélin, dessins, lithographies, aquarelles et peintures à l’huile le montre soucieux de l'évolution du goût. Elle met aussi en lumière la difficulté qu'il éprouve à conserver sa réputation de portraitiste après 1820. Cette thèse fournit pour la première fois un catalogue de l’œuvre d'IsabeyJean-Baptiste Isabey (1767-1855) had an exceptionally long career that spanned from the French Revolution until the Second French Empire. After his early works' exhibition at the Salon of 1791, this student of Jacques-Louis David rapidly became, on the art scene of the French Directory, the finest artist and miniaturist of his time. In a context that made the dissemination of low-cost and small-sized portraits easier, his unusual success reflects the change of artistic recognition criteria in the late eighteenth century. It also reflects the improvement of the social status of artists around 1800. Linked to people that were close to Bonaparte under the French Consulate, Isabey is one of the period's best introduced portraitists. His cleverness in using themes that meet his contemporaries' tastes clearly shows how important social relationships can be in the making and spreading of artistic reputations at the turn of the nineteenth century. Between 1800 and 1805, Isabey is the author of several large propaganda drawings that punctuate the main steps of the new power's consolidation. Familiar with the imperial nobility, the artist collects honours and official commissions in the wake of the Coronation. His reputation is associated with miniature portraits of the Emperor made for the fund of diplomatic presents and with some of the most famous official representations of Marie-Louise and of the King of Rome. His responsibilities are manifold and he produces a lot: he is the official painter for external relations, designer of the Cabinet, designer of Ceremonies and chief decorator of the Opera. The study of this multidisciplinary career gives many keys to a better understanding of the career and status of court artists under the Empire. After Waterloo, Isabey is sidelined because of his bonapartist commitments. At this time the artist performs several caricatures and portraits where he clearly criticizes the freshly restored monarchy. Analysing the effects of this resistance to the royalist regime in the world of arts between 1815 and 1820 helps in understanding his commitment to the opposition. The period opening in the aftermath of the Hundred Days is also fundamental to understanding Isabey's artistic career and to appreciate the place he was assigned by his contemporaries in the art of the first part of the nineteenth century. His prolific output, which comes in miniature on vellum, drawings, lithographs, watercolours and oil paintings shows his constant concern about changing tastes. It also highlights the difficulty he has to maintain his reputation as a portraitist after 1820.This thesis provides for the first time a catalogue of Isabey's works
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Bryans, Dennis Lindsay, and gpp@optusnet com au. "A seed of consequence : indirect image transfer and chemcial printing : the role played by lithography in the development of printing technology." Swinburne University of Technology, 2000. http://adt.lib.swin.edu.au./public/adt-VSWT20060118.162852.
Повний текст джерелаАнотація:
The history of printing is dominated by studies of mechanical typography. In this thesis the role of lithography in modernising printing is presented as an alternative path. The conventional explanation of how different printing processes work is generally made by dividing them into relief, intaglio and planographic processes. This explanation is of questionable value now, in a world where digital pre-press and offset printing hold sway.
It is an outmoded idea to think that different ways of delivering ink under pressure is at the core of printing. Instead, it is more useful to focus our attention on the role played by direct and indirect image transfer. The similarities between the uses made by Gutenberg and Senefelder of direct and indirect image transfer has a greater importance than has the simplified division of printing processes into classes based upon depth of impression which is, essentially, a mechanical idea grounded in the typographic tradition.
The idea presented here is that Gutenberg's application of indirect image transfer in his invention of moveable type provoked changes of greater importance than did the alternative invention of printing illustrations directly from metal plates or wooden blocks.
Similarly, direct lithography was transformed by Senefelder into a vehicle for indirect image transfer by the invention of lithographic transfer paper. This invention had important ramifications for the future of lithography and for the preservation of photographic images. The combination of chemical printing and indirect image transfer made the capture of photographic images possible for the first time. In the nineteenth century, lithography also provided the first means by which photographs could be reproduced with printing ink in books - typography following here rather than leading the way.
These issues have not been clearly recognised by many. The widely acknowledged superiority of typography to print economically, sharply, and at speed, was not surpassed by lithographers (who tended to concentrate on technical illustration and decorative printing) for many years. It was not until indirect image transfer was applied to the lithographic press that this barrier to progress was overcome, and, at last, text and image were efficiently transferred photographically to the rotary offset press.
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Sazio, Solène. "Hippolyte Bellangé (1800-1866), reconnaissance et oubli d'un artiste aux origines de la légende napoléonienne." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR021.
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Hippolyte Bellangé a connu une longue carrière qui s’est étendue de la Restauration au Second Empire. Après avoir exposé ses premières peintures au Salon de 1822, cet élève de Jean-Antoine Gros s’impose rapidement dans le milieu comme l’un des principaux chantres de la légende napoléonienne. Élevé en pleine gloire et effervescence du 1er Empire, il appartient à une génération d’artistes qui, au lendemain de Waterloo, va transposer dans son œuvre toute une palette de mélancolie et de nostalgie envers cette rutilance passée, tout autant entraperçue que fantasmée. Le succès de Bellangé, fortement corrélé à un contexte propice à la propagation de la légende napoléonienne, donne un aperçu intéressant sur les évolutions de l’opinion publique d’une part, et des attitudes politiques d’autre part, vis-à-vis de la figure de Napoléon Bonaparte. Ses œuvres se caractérisent en outre par l’application qu’il met dans l’évocation et la description du quotidien. Son installation à Rouen lui donne notamment l’occasion de créer une iconographie renouvelée de la campagne normande. Homme public et artiste aux multiples facettes, sa carrière a par ailleurs été marquée par son activité de conservateur du musée des Beaux-arts de Rouen. Ce parcours pluridisciplinaire nous offre un champ d’étude remarquable et une documentation précieuse sur la carrière et le statut des artistes du milieu du XIXe siècle. L’analyse de la vie et de l’œuvre d’Hippolyte Bellangé, resituées dans leur contexte politique, nous offre enfin l’occasion de questionner les notions d’art engagé, d’art populaire et d’art patriote dans les années qui ont suivi le 1er EmpireHippolyte Bellangé had a long career that extended from the Restoration to the Second Empire. After exhibiting his first paintings at the Salon of Paris in 1822, this disciple of Jean-Antoine Gros quickly established himself in the artistic environment as one of the main promoters of the Napoleonic legend. Raised during the full glory and effervescence of the First Empire, he belonged to a generation of artists who, the day after Waterloo, transposed into their work a whole palette of melancholy and nostalgia towards that past glow they half-caught a glimpse of, half-fantasized about. Bellangé's success, which was strongly correlated to a context that was supportive to the spread of Napoleonic legend, gives an interesting insight into the evolution of public opinion on the one hand, and political attitudes on the other, towards the figure of Napoleon Bonaparte.His works are also characterized by the application he puts into the evocation and description of everyday life. His moving to Rouen gave him the opportunity to create a renewed iconography of the Norman countryside. Simultaneously a public figure and a multifaceted artist, his career has also been marked by his position as curator of the Musée des Beaux-arts of Rouen. This multidisciplinary background definitely offers a remarkable field of study and a valuable documentation on the careers and the status of artists in the mid-nineteenth century. The analysis of the life and work of Hippolyte Bellangé, reviewed in their political context, finally gives us the opportunity to question the notions of committed art, popular art and patriotic art in the years following the First Empire
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Lacerda, Ligia Maria Alves de. "Pietro Biancovilli: imagens da industrialização no álbum de litografias do Museu Mariano Procópio (1888-1914)." Universidade Federal de Juiz de Fora (UFJF), 2012. https://repositorio.ufjf.br/jspui/handle/ufjf/4978.
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Esta pesquisa tem como objetivo analisar as narrativas visuais, vinculadas à memória da indústria gráfica regional, tomando-se como investigação o estudo da implantação da primeira casa litográfica comercial do Estado de Minas Gerais, a Litografia a vapor Pietro Biancovilli. A fonte principal da pesquisa é o Álbum 6 de litografias pertencente ao acervo do Arquivo Histórico da Fundação Museu Mariano Procópio, que contem 130 exemplares de impressos comerciais pertencentes a essa litografia. Buscou-se, também, a análise em fontes documentais encontradas no Setor de Memória da Biblioteca Municipal Murilo Mendes, no Arquivo Histórico de Juiz de Fora e no Arquivo Público Mineiro, onde foram examinados periódicos e documentos relativos à chegada e à produção do litógrafo italiano Pietro Angelo Biancovilli. O recorte temporal se inicia em 1888, quando o emigrante chega ao Brasil, e termina no ano de 1914, quando se encerram suas atividades comerciais. Consoante com as proposições da História Cultural, esta pesquisa concebe o exame das práticas e representações imagéticas, forjadas no âmbito da cidade de Juiz de Fora em fins do século XIX e décadas iniciais do século XX.
This research has the purpose to analize the visual accounts linked to the memory of local graphic industry, studying the settling of the first commercial lithography house in the State of Minas Gerais, the steam litography Pietro Biancovilli. The main source of the research is the “Álbum 6” of lithographies belonging to the collection of the Historical Archive of the Mariano Procópio Museum Foundation, with 130 pieces of commercial prints belonging to this lithography. It has been analized documental sources found in the Memory Department of the Municipal Library Murilo Mendes, in the Historical Archive of Juiz de Fora and in the Public Archive of Minas, where it has been examined periodicals and documents related to the arrival and production of the italian lithographer Pietro Angelo Biancovilli. The time researched begins in 1888, when the foreigner arrives to Brazil, and it ends in the year of 1914, when he closes his commercial activities. Regarding to the propositions of Cultural History, this research conveives the examination of practices and representations of images, forged in the Juiz de Fora life in the end of 19th Century and in the first decades of the 20th Century.
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Albuquerque, André Luis de Castro. "Imagem, tinta e papel: uma leitura da litografia "Negras livres vivendo de suas atividades", de Jean Baptiste Debret." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/1872.
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Previous issue date: 2013-06-18Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Jean Baptiste Debret (1768-1848), the French painter from the Neoclassical school, came to Rio de Janeiro city in 1816, to help creating an academy of fine arts, in the molds of the one in France, during the Dom João VI government in Brazil. Developing paintings and drawings in the streets of the empire s capital, Debret carried out a detailed study about the Portuguese court s life, as well as of the black men and women lives who worked in a wide range of services; this study will create his great work Historical and Picturesque Voyage to Brazil . This research analyzed one of his litographies, entitled Free Negresses Earning a Living From their Works , from Historical and Picturesque Voyage... , trying to understand the painter s purpose to elaborate his discourse about how the free negresses that worked in Rio de Janeiro City lived.
Jean Baptiste Debret (1768-1848), pintor francês pertencente à Escola Neoclássica francesa, veio para a cidade do Rio de Janeiro no ano de 1816, ajudar na criação de uma Academia de Belas Artes, nos moldes franceses, durante o governo de Dom João VI no Brasil. Desenvolvendo trabalhos de pintura e desenho nas ruas da capital do Império, Debret realizou um estudo minucioso sobre a vida da corte portuguesa nos trópicos, bem como as vidas de negros e negras de ganho que trabalhavam nos mais variados serviços; esse estudo vai dar origem à sua grande obra Viagem Pitoresca e Histórica ao Brasil . Esta pesquisa analisou uma de suas litografias, intitulada Negras livres vivendo de sua atividades , que se encontra no segundo tomo da Viagem Pitoresca... , buscando compreender a intenção deste pintor ao elaborar um discurso sobre como viviam as negras livres que trabalhavam na cidade do Rio de Janeiro.
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Ribeiro, Edméia [UNESP]. "Costumbrismo, hispanismo e caráter nacional em Las mujeres españolas, portuguesas y americanas: imagens, textos e política nos anos 1870." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/103144.
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ribeiro_ea_dr_assis.pdf: 2491911 bytes, checksum: 0aabf1551cbf9326812aef61b892f12d (MD5)Esta tese procura refletir sobre a coleção Las Mujeres Españolas, Portuguesas y Americanas, publicação composta por três volumes de textos abordando espaços territoriais na Espanha, América e Portugal e por litografias – comercializadas em separado –, produzida no decorrer da década de 1870 na Espanha, e que fez uso da simbologia feminina para representar tais espaços. Essa obra constitui-se, ao mesmo tempo, em fonte e objeto desta pesquisa. Neste estudo, parte-se da hipótese de que essa coleção possui um sentido político e configura-se em produção material que constrói uma representação simbólica das características nacionais espanholas, elaborando um discurso sobre si, perceptível no conjunto de sua concepção, produção e composição. Foi produzida na segunda metade dos oitocentos, sob a raiz do movimento romântico e moldada pela estética costumbrista – gênero que se destacou por descrever tipos sociais, hábitos, costumes e tradições. Sobre a temática feminina, partiu-se do pressuposto de que imagens idealizadas de mulheres foram utilizadas para tocar os imaginários sociais pelo que representavam – amor, submissão, honra, fecundidade, educação, abnegação – e também como símbolos dos novos tipos sociais que surgiam em cena nos espaços nacionais que se configuravam perante as transformações européias. O hispanismo, discurso ideológico pautado nas experiências comuns e espírito espanhol, permeou toda a coleção, e este trabalho sustenta a hipótese de que não só referendou, mas construiu e disseminou esse ideário. Por fim, defendeu-se que tanto a linguagem textual como a iconográfica localizaram e salientaram elementos formadores das sociedades espanholas, revelando origens, tradição, peculiaridades e singularidades desses povos – sob o signo feminino – que remetiam à problemática do caráter nacional espanhol.
This proposition tries to disclose on the collection Las Mujeres Españolas, Portuguesas y Americanas, a publication composed by three tomes of texts which discuss the territorial spaces in Spain, America and Portugal and by lithographs - separately sold -, produced in Spain during the 1870 decade, using the feminine symbology to represent those spaces. This work consists of, at the same time, origin and object of this research. This treatise starts with the hypothesis that this collection has a political meaning and happens to have a material production which builds a symbolical representation of the Spanish national characteristics, elaborating a “self-speech” about itself, perceptible on the entirety of its conception, production and composition. It was introduced on the second half of the XVIII century, under the roots of the Romanticism and molded by the costumbrista esthetics – gender that distinguished itself by describing the social models, habits, uses and traditions. From the feminine themes, the treatise starts from the pretext that the use of idealized images of women were used to reach the social imaginary of what they represented – love, submission, honor, fecundity, education, self-denial – and also as symbols of the new social types that emerged in the national spaces that appeared in the face of the European transformations. The hispanism, ideological speech based on the common experiences and on the Spanish spirits, pierced all the collection, and this treatise supports the hypothesis that it not only countersigned, but built and spread this ideas. And, last but not least, defended that both textual language and iconography placed and emphasized the elements which built the Spanish societies, revealing origins, tradition, peculiarities and singularities of this people – under the feminine sign- that alluded to the a set of problems of the Spanish national character.
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Young, Tom. "Art in India's 'Age of Reform' : amateurs, print culture, and the transformation of the East India Company, c.1813-1858." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/285900.
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Two images of British India persist in the modern imagination: first, an eighteenth-century world of incipient multiculturalism, of sexual adventure amidst the hazy smoke of hookah pipes; and second, the grandiose imperialism of the Victorian Raj, its vast public buildings and stiff upper lip. No art historian has focused on the intervening decades, however, or considered how the earlier period transitioned into the later. In contrast, Art in India's 'Age of Reform' sets out to develop a distinct historical identity for the decades between the Charter Act of 1813 and the 1858 Government of India Act, arguing that the art produced during this period was implicated in the political process by which the conquests of a trading venture were legislated and 'reformed' to become the colonial possessions of the British Nation. Over two parts, each comprised of two chapters, two overlooked media are connected to 'reforms' that have traditionally been understood as atrophying artistic production in the subcontinent. Part I relates amateur practice to the reform of the Company's civil establishment, using an extensive archive associated with the celebrated amateur Sir Charles D'Oyly (1781-1845) and an art society that he established called the Behar School of Athens (est.1824). It argues that rather than citing the Company's increasing bureaucratisation as the cause of a decline in fine art patronage, it is crucial instead to recognise how amateur practice shaped this bureaucracy's collective identity and ethos. Part II connects the production and consumption of illustrated print culture to the demographic shifts that occurred as a result of the repeal of the Company's monopolistic privileges in 1813 and 1833, focusing specifically on several costume albums published by artists such as John Gantz (1772-1853) and Colesworthy Grant (1813-1880). In doing so, it reveals how print culture provided cultural capital to a transnational middle class developing across the early-Victorian Empire of free trade. Throughout each chapter, the gradual undermining of the East India Company's sovereignty by a centralising British State is framed as a prerequisite to the emergence of the nation-state as the fundamental category of modern social and political organisation. Art in India's 'Age of Reform' therefore seeks not only to uncover the work and biographies of several unstudied artists in nineteenth-century India, but reveals the significance of this overlooked art history to both the development of the modern British State, and the consequent demise of alternative forms of political corporation.
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Fields, Kyle David. "Death and Memory in the Napoleonic and American Civil Wars." Miami University Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1278824193.
Повний текст джерелаКниги з теми "Histoire Lithographie"
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Bobet-Mezzasalma, Sophie. La lithographie d'après les peintres en France au XIXe siècle: Essai sur une histoire du goût, 1798-1913. Lille: A.N.R.T., Université de Lille III, 2000.
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Tārīkh-i chāp-i sangī-i Iṣfahān. Tihrān: Kitābkhānah, Mūzih va Markaz-i Asnād-i Majlis-i Shūrā-yi Islāmī, 2011.
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Bouchot, Henri. La lithographie [microform]. Paris: Librairie d'éducation nationale, 1985.
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Enrico, Castelli. Divine lithography. New Delhi: Il Tamburo Parlante Documentation Centre and Ethnographic Museum, 2005.
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Barlach, Ernst. Ernst Barlach: Lithographien, Holzschnitte. Stuttgart: Institut für Auslandsbeziehungen, 1989.
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Barlach, Ernst. Ernst Barlach: Lithographies, xylographies. [Athens, Greece]: Pinakothēkē Dēmou Athēnaiōn, 1990.
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Zeidler, Jürgen. Franz Maria Ferchl und die Annalen der Lithographie: Über ein verschollen geglaubtes Manuskript zur Frühzeit von Steindruck und Lithographie. Gransee: Edition Schwarzdruck, 2017.
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Kooning, Willem De. De Kooning: Lithographs. London: Fabian Carlsson Gallery, 1985.
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Patrimoine & paysages: Une histoire en partage. Châtillon-sur-Indre]: Rencontre avec le patrimoine religieux, 2022.
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Senefelder, Alois. The invention of lithography. Ithaca, NY: Canonymous Press, 2001.
Знайти повний текст джерелаЧастини книг з теми "Histoire Lithographie"
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Collins, Larry B. "Franz Unger and plant evolution: Representations of plants through time." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(08).
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ABSTRACT This chapter will highlight a series of lithographs produced by Franz Unger and Josef Kuwasseg that emphasize how Unger used plants to represent different periods of earth history. While Henry De la Beche is credited with the first depiction of ancient life through art (Duria antiquior), Unger’s work was the first to illustrate how plants could be used as indicators of changes in life history. In collaboration with artist Josef Kuwasseg, he embarked on a project entitled The Primitive World in Its Different Periods of Formation that consisted of 14 lithographs that were published in 1851. The title was unique in that it combined the concepts of a “primitive world,” or the widely accepted contemporary idea of undifferentiated deep time, with our modern concept of different periods of earth history. Unger selected periods for this project based upon major strata, but his botanical roots led him to emphasize the importance of plants in each lithograph. The series begins with the “Transition Period,” or the strata that contain the most fossil evidence to develop a reconstruction, and ends with a depiction of the arrival of man in a plant-filled world. This series of lithographs offers a unique contribution to the history and philosophy of geology as Unger recognized the importance of plants to our understanding of geology and deep time in the nineteenth century.
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Scardamaglia, Amanda. "Lithograph." In A History of Intellectual Property in 50 Objects, 56–63. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108325806.007.
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Okoroanyanwu, Uzodinma. "Introduction to Lithography." In Chemistry and Lithography, Second Edition, Vol. 1: The Chemical History of Lithography. SPIE, 2020. http://dx.doi.org/10.1117/3.2551242.ch1.
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Okoroanyanwu, Uzodinma. "Evolution of Lithography." In Chemistry and Lithography, Second Edition, Vol. 1: The Chemical History of Lithography. SPIE, 2020. http://dx.doi.org/10.1117/3.2551242.ch5.
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Okoroanyanwu, Uzodinma. "Physical Origins of Lithography." In Chemistry and Lithography, Second Edition, Vol. 1: The Chemical History of Lithography. SPIE, 2020. http://dx.doi.org/10.1117/3.2551242.ch3.
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"Nineteenth-Century Engravings, Lithographs, and Prints." In A World History of Railway Cultures, 1830–1930, edited by Matthew Esposito, 112–16. Routledge, 2020. http://dx.doi.org/10.4324/9781351211802-6.
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Adams Stein, Jesse. "The continuity of craft masculinities: from letterpress to offset-lithography." In Hot Metal. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781784994341.003.0004.
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This chapter considers the effect that an autonomous technical artefact – the printing press – had on the workers in charge of them, the press-machinists. It establishes how the printing press possesses material and social agency in the continuity and transformation of craft masculinity. This issue is examined in the context of the technological shift from letterpress printing to high-speed offset-lithography, which took place chiefly in the 1970s. While the compositors’ experience of technological change has received some attention in labour history and sociology, the trade of press-machining has been almost entirely ignored. Charting the printing industry’s transition from letterpress to offset-lithography opens a new window of understanding into the relevance and influence of large-scale technical machinery on the shop floor. This is related back to the reinforcement of craft masculinities in declining industrial contexts. This allows us to see how particular practices and identities are sometimes maintained and reinvigorated when a conservative institution is threatened with change.
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Okoroanyanwu, Uzodinma. "Back Matter." In Chemistry and Lithography, Second Edition, Vol. 1: The Chemical History of Lithography. SPIE, 2020. http://dx.doi.org/10.1117/3.2551242.bm.
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Okoroanyanwu, Uzodinma. "Front Matter." In Chemistry and Lithography, Second Edition, Vol. 1: The Chemical History of Lithography. SPIE, 2020. http://dx.doi.org/10.1117/3.2551242.fm.
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Seggerman, Alex Dika. "Future Publics." In Modernism on the Nile, 27–67. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469653044.003.0002.
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This chapter argues that late nineteenth-century satirical cartoons and portrait photography in Egypt created a public conversant in a shared visual language of art and politics, and thus laid the groundwork for a modern art movement. The increased availability of mechanical image reproduction technology in Egypt, in addition to the country’s strategic position in international politics, fostered a visual system for identifying and critiquing late nineteenth-century Cairene politics among a transnational elite. This public included Ottoman, French, Italian, Syrian Christian, and Jewish individuals in addition to “local” Egyptians. The shared visual language spoke to all these diverse groups. I trace the visual history of caricature embedded in the satirical, illustrated Arabic- and French-language lithographic journal Abou Naddara Zarqaʾ, published by Yaʿqub (James) Sanua (1839–1912), and the significations of the cross-dressing by Princess Nazli Fazil (1853–1913) in photographic portraits. Both interpellate a public by means of images that reference a wide network of histories. Through visual analysis, I plot a constellation of complex visual and textual connections that, I argue, forms the “future public” of Egyptian modernism.
Тези доповідей конференцій з теми "Histoire Lithographie"
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Matsuyama, Tomoyuki, Yasuhiro Ohmura, and David M. Williamson. "The lithographic lens: its history and evolution." In SPIE 31st International Symposium on Advanced Lithography, edited by Donis G. Flagello. SPIE, 2006. http://dx.doi.org/10.1117/12.656163.
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Owa, Soichi, and Hiroyuki Nagasaka. "Immersion lithography: its history, current status and future prospects." In SPIE Lithography Asia - Taiwan, edited by Alek C. Chen, Burn Lin, and Anthony Yen. SPIE, 2008. http://dx.doi.org/10.1117/12.804709.
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Mack, Chris A. "Shot noise: A 100 year history, with applications to lithography." In Extreme Ultraviolet (EUV) Lithography IX, edited by Nelson M. Felix and Kenneth A. Goldberg. SPIE, 2018. http://dx.doi.org/10.1117/12.2305949.
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Gallagher, Emily E., Marina Y. Timmermans, Ivan Pollentier, Jae Uk Lee, Marina Mariano, Christoph Adelmann, Cedric Huyghebaert, Frank Scholze, and Christian Laubis. "CNTs in the context of EUV pellicle history (Conference Presentation)." In Extreme Ultraviolet (EUV) Lithography IX, edited by Nelson M. Felix and Kenneth A. Goldberg. SPIE, 2018. http://dx.doi.org/10.1117/12.2297710.
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Smith, Mark D., Chris A. Mack, and John S. Petersen. "Modeling the impact of thermal history during post-exposure bake on the lithographic performance of chemically amplified resists." In 26th Annual International Symposium on Microlithography, edited by Francis M. Houlihan. SPIE, 2001. http://dx.doi.org/10.1117/12.436826.
Повний текст джерелаЗвіти організацій з теми "Histoire Lithographie"
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Jewell's Crescent City Illustrated: New Orleans: 1874. Inter-American Development Bank, March 2000. http://dx.doi.org/10.18235/0006419.
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Sixty objects and historic documents from the Historic New Orleans Collection, the Louisiana State Museum, and the New Orleans Museum of Art, including maps, photographs, lithographs, land deeds, silverware, earthenware, woodwork, msuic sheets, and even the trumpet of jazz great Dave Bartholomew. The "River and a City" section gave an overview of the history of New Orleans since discovery, and the "Unique Cultural Blend" section highlighted cultural expressions unique to the city itself. The exhibition was organized in honor of the City of New Orleans, site of the 41th Annual Meeting of the IDB Board of Governors in March, 2000.