Дисертації з теми "Landscape painting History"
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Gilchrist, Marianne McLeod. "Images of the Petrine era in Russian history painting." Thesis, University of St Andrews, 1994. http://hdl.handle.net/10023/15319.
Повний текст джерелаGreenwald, Diana Seave. "Painting by numbers : case studies in the economic history of nineteenth-century landscape and rural genre painting." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:3e1941c3-3c7e-48ee-9c62-2d2fa9c2c3fc.
Повний текст джерелаHoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.
Повний текст джерелаCoetsee, Yda Cornelia. "Figuring from within : a study in history, painting and the work of Moses Tladi." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96974.
Повний текст джерелаENGLISH ABSTRACT: This study explores the significance of landscape painting in my own work and in the work of Moses Tladi, one of the lesser-known SA pioneer artists working in the oil painting convention. Through a Romantic lens, I argue that Tladi’s paintings exist as record of his experiences, thoughts and emotions, making use of a hermeneutics ‘from within’, rather than one aimed at Realist exposition. While employing such a hermeneutics in my own practice, I seek out points of connection between Tladi and myself, as well as explore if and to what degree our different socio-political circumstances shape our practices. In part one of the thesis I sketch a narrative backdrop to the era in which Tladi lived and of his relationship to his patrons, mentors and the establishment. I explore his work in relation to popular conventions at the time, matters of modernism and abstraction, as well as to some degree how the landscape genre functions in terms of class. The overall argument is divided in two parts, that of the metaphorical ‘Garden’ and that of the ‘Wilderness’. With this divide I aim to reveal how Tladi employs the transcendent both in the sublime expanse of Sekhukhuneland and in his domestic, everyday reality. The ideological relationship between the Garden and Wilderness is examined in terms of theories on landscape, imperialism and the Lutheran missionary project. In the second part I describe my own work and discuss the contribution it makes. While alluding to many of the devices already discussed in Tladi’s work, I sketch the context in which my own paintings were made and explain some of my stylistic and curatorial choices. In demonstrating how our techniques and methodologies overlap, I aim to cristallise some of the theoretical themes explored.
AFRIKAANSE OPSOMMING: Hierdie studie handel oor die belang van landskapskilder in my eie werk en in the werk van Moses Tladi, een van Suid-Afrika se minder bekende pionier-kunstenaars in die olieverftradisie. Ek argumenteer, deur ’n Romantiese blik, dat Tladi se werk as rekord verskyn van sy ervarings, gedagtes en emosies. In hierdie opsig is sy hermeneutiek ‘inwaarts’ gekeer, eerder as gefokus op die Realistiese ontbloting van sekere sosiale kwessies. Terwyl ek in my eie skilderpraktyk ook van so ’n hermeneutiek gebruik maak, soek ek raakpunte tussen my en Tladi se werk onderwyl ek ondersoek of, en tot watter mate, ons verskillende sosio-politiese omstandighede ons werk vorm. In Deel Een van die tesis skets ek ’n narratiewe agtergrond tot die era waarin Tladi geleef het en kyk na sy verhouding met sy beskermhere (“patrons”), sy mentors en die kunsstigting. Ek ondersoek Tladi se werk aan die hand van populêre konvensies van sy tyd sowel as kwessies van Modernisme en abstraksie. Ek kyk ook vlugtig na hoe die landskap-genre ten opsigte van sosiale stand funksioneer. My algehele argument het twee afdelings, die metafoor van die ‘Tuin’, en dié van die ‘Wildernis’. Met hierdie verdeling beoog ek om te wys hoe Tladi transendente aspekte voorstel in die uitgestrekte, ontsagwekkende landskappe van Sekhukhuneland, maar ook in sy alledaagse, sosiale realiteit. Die ideologiese verhouding tussen die Tuin en die Wildernis word verder ondersoek ten opsigte van teorieë oor landskap, imperialisme en die sendingpraktyke van die Lutherse Kerk. In Deel Twee beskryf ek my eie werk sowel as die bydrae wat dit maak. Ek beskryf die konteks waarin sommige van die skilderye gemaak is, bespreek hul inhoud, en kyk na spesifieke stilistiese en kuratoriale keuses. Deurentyd raak ek aan die tegnieke en temas wat alreeds bespreek is in die afdeling oor Tladi. Deur te demonstreer hoe my en Tladi se tegniek en metodologie oorvleuel, hoop ek om die teoretiese temas wat reeds ondersoek is, te kristalliseer.
Kwok, Yin-ning, and 郭燕寧. "Concepts of realism and the reception of John Constable's landscape paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39707301.
Повний текст джерелаSilberstein, Edward. "And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288378722.
Повний текст джерелаNucaro, Margaret Teresa 1954. "An examination of the relationship between landscape architecture and painting in England during the 18th and 19th centuries." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/291840.
Повний текст джерелаPegram, Juliette. "Baudelaire and the Rival of Nature: the Conflict Between Art and Nature in French Landscape Painting." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/163974.
Повний текст джерелаM.A.
The rise of landscape painting as a dominant genre in nineteenth century France was closely tied to the ongoing debate between Art and Nature. This conflict permeates the writings of poet and art critic Charles Baudelaire. While Baudelaire scholarship has maintained the idea of the poet as a strict anti-naturalist and proponent of the artificial, this paper offers a revision of Baudelaire's relation to nature through a close reading across his critical and poetic texts. The Paris Salon reviews of 1845, 1846 and 1859, as well as Baudelaire's Journaux Intimes , Paradis Artificiels and two poems that deal directly with the subject of landscape, are examined. The aim of this essay is to provoke new insights into the poet's complex attitudes toward nature and the art of landscape painting in France during the middle years of the nineteenth century.
Temple University--Theses
Robinson, Stuart T. "Essences of Charleston: The Tropical Landscape Paintings of Louis Remy Mignot, 1857-1859." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283366290.
Повний текст джерелаTolentino, Felicia. "Porträtt av ett landskap : Vera Friséns gestaltning av naturen i Västerbotten." Doctoral thesis, Umeå University, Department of culture and media studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1622.
Повний текст джерелаThe present dissertation deals with the artistry of the Swedish artist Vera Frisén (1910-1990). The emphasis is being put on her landscape paintings from Västerbotten, in the northern parts of Sweden, but also includes self-portraits from her early years as a painter. Vera Frisén was born in Umeå, but lived more than half her life in Stockholm. During springtime and summer, she did however return to Västerbotten and the vil¬lages of Stöcksjö and Kolksele, where she painted the majority of her landscape paintings.
The study has been given a chronological frame, where the first part sketches out the contexts and environments that came to have an influence on Vera Frisén and her artistic development. Consequently, the thesis starts with a brief biographical presen¬tation, but then moves forward to issues more central to the subject. Important as¬pects are for example her years as a student in the art academy of Otte Sköld in Stockholm during the late 1920’s, and her first separate exhibition at the gallery Färg & Form in 1941. Other issues that are being illuminated in the study are the artistic and cultural conditions in Vera Friséns hometown Umeå. The discussion mainly cen¬ters on issues that took place during the 1930’s and the 1940’s – the time when Vera Frisén established herself as an artist.
The second part of the dissertation includes analyses of Vera Friséns paintings. In the search of concepts that further can explain the more profound existential values in her work, the study also links the themes in her paintings to other painters in the his¬tory of landscape painting. Concepts central for discussion are for example the aes¬tethical and philosophical issue of the sublime, as it is formulated in the discourse of Immanuel Kant during the late 18th century. Thoughts expressed by other artists, writers and philosophers, linked to Vera Friséns own thoughts on the subject, are also valuable instruments in gaining a deeper understanding of her work.
Carroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.
Повний текст джерелаLeung, Pui-yi, and 梁佩儀. "Refuge and empty pavilions: encountering Ni Zan (1306-1374)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44523798.
Повний текст джерелаCrouch, Rachael M. "Rhetoric and Redress: Edward Hopper's Adaptation of the American Sublime." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1186602058.
Повний текст джерелаCao, Maggie M. "Episodes at the End of Landscape: Hudson River School to American Modernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11535.
Повний текст джерелаHistory of Art and Architecture
Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.
Повний текст джерелаSalvadó, Romero Alan. "Estètica del paisatge cinematogràfic : el découpage i la imatge en moviment com a formes de representació paisatgística." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/104479.
Повний текст джерелаThe Occidental conception of the landscape –that has been closely linked to its pictorial representation- has tended to create an imaginary of the unity and the immobility. It conditioned an important part of the aesthetic refections regarding the landscape. The aim of this thesis is to consider the principles for an aesthetic of the film landscape, which is based on two technical characteristics of the cinema: the découpage and the moving image. Looking at the intertextual dialogue between the cinema, the painting and the literature, we describe “another history” of the landscape where the fragmentation, the entanglement and the mobility are the principal mechanisms of the landscape representation. According to the spirit of this research, the structure of the thesis starts from the situation of the landscape in the contemporary world to go on a later archaeological journey across the time. This trip seeks to locate the origins of the landscape découpage and the moving landscape. Through this retrospective look, we can observe how the cinema rewrite and dialogue by a cinematic way with the forms of the landscape that were spread out in other arts.
Hageman, Carolyn A. "The Unlikely Road to Success: The Life and Career of Watercolorist William Leighton Leitch." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1386083716.
Повний текст джерелаOliveira, Helder Manuel da Silva de. "Olhar o mar : um estudo sobre as obras 'Marinha com Barco' (1895) e Paisagem com Rio e Barco ao Seco em São Paulo "Ponte Grande" (1895) de Giovanni Castagneto." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281530.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A origem deste estudo são as obras Marinha com barco (1895) e Paisagem com rio e barco ao seco em São Paulo 'Ponte Grande¿ (1895) de autoria de Giovanni Castagneto. Este se inicia com um breve histórico da pintura de marinha correlacionando a produção européia e brasileira. Em seguida, analisamos a produção do artista sob a prática da pintura de série, pois é possível identificar nas obras do pintor uma freqüente repetição de motivos. A partir disto avaliamos a série 'barcos ao seco¿ realizada pelo pintor ao longo de sua carreira e na qual incluímos as obras acima. Por fim, tratamos do período em que o artista expôs em São Paulo e as relações estabelecidas no ambiente cultural paulista. O trajeto foi necessário tanto para uma compreensão da produção paulista e de sua importância no meio artístico da cidade de São Paulo, bem como perceber o lócus do pintor no panorama da pintura de paisagem marinha e no meio artístico brasileiro do século XIX
Abstract: Giovanni Castagneto's Marinha com barco (1895) and Paisagem com rio e barco ao seco em São Paulo 'Ponte Grande' (1895) are the origin of this present study which begins with a brief story of seascape co-relating both the European and Brazilian productions. The following step consists on the analysis of the artist's production under the practice of his serial paintings due to the possibility of identification of a frequent repetition of motives in the painter's works. From this point, we evaluate the series 'barcos ao seco' released by the painter throughout his career and which includes the paintings mentioned previously. Finally, we focus on the period in which the artist exhibited in São Paulo and the relationship established in the cultural environment of the city. This course was necessary for a deeper comprehension of the painter's production in São Paulo as well as his importance in the forming cultural class. Therefore we intend, throughout the chosen paintings, to notice the importance of Castagneto in the both sea and landscape production context and in the Brazilian artistic class
Mestrado
Historia da Arte
Mestre em História da Arte
Favry, Amélie. "Affirmation du sentiment national belge au travers de la représentation du paysage, 1780-1850." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211052.
Повний текст джерелаLes premières images mentales du territoire national développées dans le chef des Belges consistent en lieux génériques (les expressions en italiques sont empruntées à Bernard Debarbieux). Définis par le discours, ces lieux génériques sont des environnements physiques dont la physionomie résulte des donnés naturels et de leur transformation par l’homme. La physionomie de ces lieux est donc dominée par l’agriculture, l’industrie et l’habitat humain. Ces configurations génériques ne recouvrent en réalité qu’une partie du territoire national. Leur élection en tant que résumé idéal du territoire belge, reflète les aspirations de la communauté.
La qualité esthétique paysagère des lieux génériques du territoire belge n’apparaît pas cependant avec évidence aux contemporains. Un écart sépare le discours et la représentation picturale. Si le premier reconnaît souvent une qualité esthétique aux lieux génériques, qui deviennent alors des paysages, la représentation iconographique se montre plus réticente à leur égard.
Les Belges de l’époque développent une seconde facette symbolique de leur territoire. Ils soulignent l’omniprésence des souvenirs historiques nationaux dans leur environnement. La Belgique leur apparaît telle un ensemble de lieux de condensation. Le discours contemporain et les œuvres des peintres, lithographes ou graveurs, témoignant d’une cohésion remarquable, illustrent abondamment les lieux de condensation belges.
Les Belges cherchent à diffuser ces images mentales parmi leurs compatriotes. Ce projet collectif répond à une volonté de faire connaître et adopter ces paysages symboliques par l’ensemble des membres de la nation. Cette connaissance passe pour le socle sur lequel peuvent se développer les sentiments d’attachement à la patrie et d’identification à la nation. Le discours et l’image sont mobilisés à cette fin.
Ces préoccupations interviennent dans le travail des peintres de paysages. Toutefois, le choix d’un site par un paysagiste belge représentant l’environnement national, est d’abord guidé par des critères internes à la pratique picturale. Ses critères de choix rencontrent en effet ceux qu’émet le discours de l’époque définissant les normes de qualité esthétique d’un tableau. L’artiste tend en outre à satisfaire les attentes du public, lequel cherche à combler son envie d’évasion hors de la cité, mais aussi à se rassurer quant à l’harmonie et à la viabilité de la société contemporaine. Les peintres (et donc leur public) manifestent pourtant une faveur particulière envers les sites belges. Ce goût dénote une identification et un attachement au pays habité par la nation historique, telle que la décrit le discours contemporain. Même s’il vient après la satisfaction des critères esthétiques, le critère de l’identification à un site belge intervient de façon notable dans l’attrait exercé par un paysage peint.
Il apparaît ainsi que les lieux génériques (agricoles et industriels) passent difficilement le premier crible, esthétique, tandis que les lieux de condensation satisfont tant les attentes esthétiques que les attentes symboliques – qualité qui assure leur succès en tant que motifs picturaux.
Les paysagistes élaborent en outre une image paysagère générique de la Belgique qui est une adaptation, conforme aux critères d’appréciation en vigueur dans le champ de la représentation picturale, du paysage générique agricole et industriel défini par le discours contemporain. Leurs œuvres dépeignent en effet la Belgique comme un territoire réalisant les canons pittoresques, comme un environnement verdoyant, boisé, vallonné, peuplé, traversé de rivières, semé d’habitations, de moulins ou autres fabriques anciennes. Dans les années 1840, les paysagistes développent également une nouvelle facette dans ce paysage générique pictural, en représentant les étendues arides, stériles et très peu peuplées, présentes sur le territoire. Cette apparition inaugure une période nouvelle, durant laquelle l’image picturale de la Belgique se dédouble, embrassant, d’une part, les sites prisés durant les premières décennies du siècle et, de l’autre, les plaines de bruyères désertes peu à peu investies d’une valeur identitaire et élevées au rang de configuration générique nationale.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
Hacker, Jonathan Joseph. "The Visual Creation of the State Apparatus, Nineteenth Century American Landscape Paintings." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556557056790917.
Повний текст джерелаMorris, David Roger Neacalbann Mcintyre. "Driekopseiland and the 'rain's magic power': history and landscape in a new interpretation of a Northern Cape rock engraving." Thesis, University of the Western Cape, 2002. http://hdl.handle.net/11394/1597.
Повний текст джерелаMagister Artium - MA (Anthropology/Sociology)
Morris, David Roger Neacalbánn McIntyre. "Driekopseiland and the 'rain's magic power': history and landscape in a new interpretation of a Northern Cape rock engraving." Thesis, University of Westen Cape, 2002. http://hdl.handle.net/11394/151.
Повний текст джерелаMELO, Paulo Henrique Rodrigues. "“Dando forma, vida e cor”: a pintura de paisagens e a construção da identidade cultural no Recife (1922-1932)." Universidade Federal Rural de Pernambuco, 2010. http://www.tede2.ufrpe.br:8080/tede2/handle/tede2/4787.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The current research has by its purpose "to read" the pictorial production of Pernambuco in the decade of 20 (1922 - 1932) and understand how its possible meanings and elements were interpreted, manipulated and appreciated in the constructions produced by the painters in the point of local/national cultural identity. Among a variety of gender that passes by portait paintings until the historic painting, we are going to linger at landscape painting, because this one is repitedly understood and used in those formulations as inherent to the identity and the individual history of Pernambuco. In the core of those formulations, we are going to find the conflict between modern and traditional, making evident the tensions brought by the modernizing speech that contaminated the Recife's men imaginary inte the 20th years, carring artists and intellectual people to have an attitude against it or in the favour. This case can be observated in those who connected direct or indirectly to the regional traditionalist movement which will detain more attention. We will understand the work of art as a social practice that built itself in the precisely continuation of historicity in the plastic form and in within social, that its product is introduced. We will approach to the explained model built by the french sociologist Pierre Bourdieu, whose fundamental terms are the Campo and the Habitus. We prioritize the intersection of visual and written sources, taking into consideration that eachone has its way of being and in the same time maintain complex relationshipswith each other through a reciprocal operation by introducing a way to see and say about the reality producing meanings and senses.
A presente pesquisa tem por objetivo “ler” a produção pictórica pernambucana na década de vinte (1922-1932) e compreender como seus possíveis significados e elementos foram interpretados, manipulados e apreciados nas construções operadas pelos pintores a respeito da identidade cultural local/nacional. Dentre uma variedade de gêneros que passam pela pintura de retratos até a pintura histórica, deteremo-nos à pintura de paisagem por esta ser recorrentemente entendida e utilizada em tais formulações como inerente à identidade e à história individual e coletiva de Pernambuco. No cerne destas formulações encontraremos o conflito entre moderno e o tradicional, evidenciando as tensões trazidas pelo discurso modernizador que contagiou o imaginário do homem recifense nos anos vinte levando artistas e intelectuais a se posicionarem contra ou a favor. Tal caso pode ser observado naqueles que se ligaram direta ou indiretamente ao movimento regionalista tradicionalista, ao qual deteremos maior atenção. Entenderemos as obras de arte como uma prática social, que se constrói na precisa continuação da historicidade da forma plástica e no seio social ao qual o seu produtor se encontra inserido. Para tal nos aproximaremos do modelo explicativo construído pelo sociólogo francês Pierre Bourdieu, que tem como termos fundamentais os de campo e de habitus. Priorizamos o cruzamento das fontes escritas e visuais, levando em consideração que cada uma possui seu modo de ser e ao mesmo tempo mantêm entre si relações complexas através de um funcionamento recíproco, instaurando uma forma de ver e dizer sobre a realidade produzindo sentidos e significados.
Semat, Aude. "L’image de la tombe en Égypte ancienne. Histoire iconographique d’un motif (XVIIIe – XXIIe dynasties)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040043.
Повний текст джерелаThe study examines the representation of architecture in painting (or architectura picta) in ancient Egypt, through a case study of the tomb as an iconographical motif during the New Kingdom and the early Third Intermediate Period.After an overview of the principles of Egyptian representation and the architectural images in ancient Egypt, in all their diversity, the study focuses on the iconographical evocation of the necropolis and the tomb’s surroundings. An important part of this study concerns the mountain as an object of representation and in particular, its origins during the XVIIIth Dynasty, as well as dealing with landscape depictions in ancient Egypt.The funerary architecture is put in painting during the XVIIIth Dynasty, within depictions of funerary rites in private tombs. If the first tomb depictions refer to sacred architecture, according to representational conventions ; they show realistic elements in the course of the XVIIIth Dynasty, being modeled after the tomb architecture as it is during the New Kingdom, which is to say a pyramid-topped tomb. This tomb motif is integrated into the Egyptian iconographical repertoire and remains on coffins and funerary papyri, after the pyramid tomb itself disappeared from architecture in the Third Intermediate Period.The underlying question in this study is the relation to reality in Egyptian painting, but also the function of the tomb image
Antequera, Lucas José Luis. "Tradición y vanguardia en la pintura española entre 1915 y 1926, a través de la obra "El Año Artístico" del crítico de arte José Francés." Doctoral thesis, Universidad de Murcia, 2013. http://hdl.handle.net/10803/117327.
Повний текст джерелаThis Thesis offers a new approach to the historiography of Spanish art in the early 20th Century, specifically to the landscape genre. The research draws on the historicist method to show that in Spain, art accompanied beliefs and values between 1915 and 1926. Spanish society did not accept the avant-garde of the time (Futurism, Cubism and Expressionism) and questioned the so-called Arte Nuevo [New Art], which was merely a transposition of French Post-Impressionism brought to Spain by Spanish painters in Paris. Viewers rejected art work to the same extent as it failed to interpret their recognisable beliefs, values and familiar representations. Six generations of landscape artists are analysed that influenced the generations focused on in this study: that of 1914 and 1927. This thesis is based upon the “Theory of Generations” propounded by Ortega y Gasset and on the twelve volumes of the work “El año Artístico”.
Mai, Nadin. "The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22990.
Повний текст джерелаBlacas, Diane de. "La réception critique de la peinture de paysage en France, autour des années 1860-1880." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040071.
Повний текст джерелаThe 1860’s-1880’s, though often considered solely as the period of impressionism, also prove to be decisive years for landscape painting. Throughout the Second Empire, critics unanimously claim its success. At the annual exhibit of the time, the hailed artists were: Paul Huet (1803-1869), Théodore Rousseau (1812-1867), Camille Corot (1796-1875), Gustave Courbet (1819-1877) and Charles Daubigny (1817-1878). With the advent of the Republic, these views changed, shifting the perception of landscapes as an “inferior” form of painting. But alongside the rise in independent exhibitions and the power of critics, many painters remained attached to the Salon, where the careers were decided. Articles from the time reveal that those dominating the genre were: Camille Bernier (1823-1902), Emile Breton (1831-1902), Charles Busson (1822-1908), Emmanuel Damoye (1847-1916), Camille Delpy (1842-1910), Antoine Guillemet (1841-1918), Emmanuel Lansyer (1835-1893) and Léon-Germain Pelouse (1838-1891). The press discussed the evolution of landscape painting, progressively abandoning historical landscapes for naturalistic ones where outdoor painting becomes associated with spontaneity and truthfulness, the Critics debating the issue of landscapes and their relevance to the modern world
Sprang, Sabine van. "Entre réalité et fiction: les festivités du Papegai en 1615 à Bruxelles de Denijs Van Alsloot (1568? - 1625/1626) et de son collaborateur Antoon Sallaert (1594-1650) :Analyse et mise en contexte d'une suite de tableaux commandés par les archiducs Albert et Isabelle." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210886.
Повний текст джерелаSans doute en raison de leur aspect descriptif, les tableaux conservés n'ont jamais été soumis à une analyse qui prenne en compte leur spécificité artistique, la plupart des chercheurs s'étant contentés jusqu'à présent d'examiner les spectacles dépeints dans une perspective historique. La thèse propose dès lors une étude qui non seulement repose sur une analyse des sources écrites et cherche à identifier les motifs représentés, mais aussi explore les composantes formelles, techniques et conventionnelles des peintures. Ceci afin, précisément, de mieux définir le rapport entre l’image donnée et la réalité des faits historiques. Car si les "Festivités" n'ont nullement valeur de reportage, leur raison d’être n’en a pas moins été de témoigner par le menu détail de certains événements. Et c’est très exactement la nature de ce témoignage, formulé avec les moyens propres à la peinture, qui est au cœur du questionnement.
La thèse se compose de deux parties. Dans la première partie, l'attention est portée sur la vie et la production de Denijs van Alsloot en général. Le peintre avait en effet été peu ou mal étudié jusqu’à présent. Or, de toute évidence, une meilleure connaissance de l’ensemble des activités artistiques de Van Alsloot permet d’aborder avec plus de justesse l’étude des "Festivités". Plusieurs éléments de la carrière de l'artiste furent en outre déterminants dans le choix d’Albert et Isabelle de faire appel à ses services pour la réalisation de la série.
La seconde partie se concentre sur l'examen des "Festivités". Le premier chapitre fait le point sur ce que les archives nous apprennent à propos de la commande et de l’historique des peintures originales comme des répliques et des variantes. Le second chapitre analyse la technique et le style de chacun des tableaux. Il vise également à reconstituer les étapes préparatoires dans la réalisation des peintures et à définir la nature des rapports entre les tableaux du point de vue de l’exécution. Une attention particulière est en outre portée à l'intervention comme sous-traitant du peintre Antoon Sallaert (1594-1650).
La signification politique des tableaux constitue le thème du troisième chapitre. Sont étudiés d'abord les circonstances historiques qui amenèrent Isabelle à participer au tir du Grand Serment et la cour à commander la série peinte des "Festivités". Le cadre d’origine des toiles est examiné ensuite, afin de mesurer l’influence potentielle de ce cadre sur la forme et le contenu des œuvres. Car si celles-ci contiennent une foule de renseignements valables sur les célébrations, il n’en demeure pas moins qu’il ne peut s’agir d’images objectives. Les "Festivités" servaient des intentions particulières qui ont amené les artistes à opérer des choix et à soumettre les scènes à des structures iconographiques signifiantes. C’est donc à déchiffrer et à interpréter la "rhétorique de l'image" que la thèse s'attache en dernier lieu.
En définitive, par la réévaluation d'un type particulier d'iconographie politique, l'auteure de la thèse espère contribuer aux travaux toujours plus nombreux sur le rôle de l'image dans l'élaboration du discours princier.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Barnes, John Robert. "Reconnection: an exploration of Australian landscape beyond history and myth." Thesis, 2011. http://hdl.handle.net/1959.13/929483.
Повний текст джерелаReconnection - an Exploration of Australian Landscape Beyond History and Myth is an investigation into whether the materials and processes of landscape-focussed studio research, structured on an experiential foundation, can act as a portal of connection with nature for an arguably disconnected humanity. My direct experience of the land is central to Reconnection but the studio is the place where imagination and labour operated as complementary processes to produce the seven series of paintings that form the exhibition. The Australian landscape is the constant reference through which I have attempted to engage an audience with the ideas and emotions that underpin this visual exploration. This exegesis aims to establish the personal, philosophical, environmental, historic and intellectual background in which to position the exhibition. From within this context I explore notions of belonging and connection to place and by examining the conceptual and material particularities of each series, I have tried to reveal the framework on which they are constructed and how they inter-act to form a self-contained whole. Throughout Reconnection I have attempted to assess the continuing relevance of landscape painting within the plurality of contemporary art practice by examining and questioning its changing forms and focus within non-Indigenous Australian art since colonisation, as this is the testing ground for my works. This project is founded on my own experience and history and so to venture into the complexities of Indigenous artistic production with which I have had little direct personal involvement, is to go beyond its scope. Within this research and completed body of paintings I have sought to establish a point of connection between nature and a viewing audience while questioning the abilities of landscape painting to act as a communicative medium in the exchange of ideas and emotion.
"Looking (again) at German landscape painting: Appropriations and adaptations as vehicles for social critique, 1969--1989." Tulane University, 2008.
Знайти повний текст джерелаacase@tulane.edu
Protschky, Susanne School of History UNSW. "Cultivated tastes colonial art, nature and landscape in the Netherlands Indies." 2007. http://handle.unsw.edu.au/1959.4/40554.
Повний текст джерела"臥遊山水與程正揆江山臥遊圖". 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5888389.
Повний текст джерела書名原題: 「臥遊」山水與程正揆《江山臥遊圖》
論文(碩士) -- 香港中文大學硏究院藝術學部,1995.
參考文獻: leaves 135-142.
Huang Peixian.
前言 --- p.1
前言 --- p.4
Chapter 第一章 --- 「臥遊」山水 --- p.10
Chapter 一. --- 「臥遊」的來源和定義 --- p.11
Chapter 二. --- 「臥遊」的哲學內涵 --- p.14
Chapter 三. --- 「臥遊」山水的理論發展 --- p.20
Chapter 第二章 --- 程正揆的「臥遊」山水 --- p.50
Chapter 一. --- 程正揆的生平 --- p.51
Chapter 二. --- 程正揆的「臥遊」思想 --- p.62
Chapter 第三章 --- 程正揆的《江山臥遊圖卷》 --- p.71
Chapter 一. --- 「欲作《臥遊圖》五百卷」的願望 --- p.72
Chapter 二. --- 《江山臥遊圖》的創作動機 --- p.79
Chapter 三. --- 《江山臥遊圖》的次第問題 --- p.85
Chapter 四. --- 《江山臥遊圖》的風格面貌 --- p.91
餘論 --- p.113
附錄一 程正揆生平年表 --- p.120
附錄二 程正揆《江山臥遊圖》傳世簡表 --- p.128
參考書目 --- p.134
圖版目錄 --- p.143
Liétard, Clotilde. "La thématique hivernale dans les oeuvres de Maurice Cullen, de 1896 à 1914." Thèse, 2010. http://hdl.handle.net/1866/4417.
Повний текст джерелаThis thesis proposes a study of the winter theme in paintings by Maurice Cullen (1864-1936) between 1896 and 1914. It is based on an analysis of political and cultural contexts. To represent the snowy Canadian landscape, Cullen adapts some techniques from modern impressionism, acquired during his first stay in Europe. Despite this foreign artistic influence thanks to his use of a bright color palette and divisional brush strokes, the perspective and the three dimensions reflect his academic principles. The use of impressionist processes allows Cullen to highlight the features and atmospheric light of his country. By applying these processes on the snow, Cullen creates a work of rediscovery and praises the territory. Indeed, this artist’s main focus is the experience one has in the distinct and sensitive environment that is unique to his territory rather than the choice of thematic canvases. All sensory and visual data contained in his works aim to make the viewer aware of the difficulty to locate within its own territory and to accept the harsh conditions inherent in Canada. His work remains impartial to the conflict of identity between Francophones and Anglophones, although it occurs within the premises of the establishment of a Canadian aesthetic. This thesis argues that Cullen renews winter imagery and the early part of the process of creating a national iconography. With his peers, he is committed to enhancing the local and he opens a debate on the representation of Canadian territory, which will be continued by the next generation with the “ Groupe des Sept”.
Chung, Shu-Ju, and 鐘淑如. "A study of the limitated historic landscape painting of Dai Xi." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/h752n7.
Повний текст джерелаHsu, Yu Juen, and 許毓珍. "Discerning the history and its natural light-color expression techiques of the landscape paintings." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/25030504089188704858.
Повний текст джерела中國文化大學
藝術研究所
95
Abstract Chapter 1: The introduction explains the main research motive of outdoor sketch creations. The purpose is to understand how the historical landscape paintings help self’s painting creations. The history of landscape paintings is from Renaissance period to the in 19 centuries. The painting creations are regard to these outdoor light-shadow sketching work of the writer. Chapter 2: The role of scenery and nature paintings in Renaissance period is still on the stage of contrasting and exploring. How craftsmen of Flanders painting parties put the nature scene into the paintings is the main discussion effort of this chapter. Also, the forming background of traditional scenery viewpoint is explained and discussed. Chapter 3: In 17 century, Holland scenery painting absorbed nutrient and developed its own specific features from the traditions. This study discussed its forming historical background and how it progressed and innovated. Chapter 4: Because of dissatisfied with academicism’s conservative perspective on historical scenery paintings, and not adaptive on rapidly developed industrialized cities, artists in painting chose Barbisone village as the regular base of sketching. Their painting styles were formed from observation on the nature, not restricted on traditions, and had influence on next generations. Chapter 5: The formation reasons and esthetics base of Impressionism painting were discussed. These external factors included new scientific theories and innovation on technology. Chapter 6: For the sketching paintings worked on outdoor field, how to transform the nature light-shadow into the painting and the possibility of scenery’s light-shadow changes on the same spot under different climate were analyzed. Chapter 7: The writer reviewed the history to introspect and think over on the painting creations, and also discussed the variety of landscape paintings in West painting history. Finally, the strengths and weakness of outdoor sketch painting drawing from nature light-shadow were listed.
Ferrero, Sebastian. "Representación de la naturaleza y el espacio en la pintura andina de los siglos XVII y XVIII." Thèse, 2016. http://hdl.handle.net/1866/18466.
Повний текст джерелаPendant la période coloniale, le grand sujet de la nature fut différemment instrumentalisé selon les intérêts particuliers des secteurs distincts de la société coloniale péruvienne. Fondamentale comme outil d'évangélisation, mais surtout comme espace de canalisation de la religiosité et de la spiritualité coloniale, la nature a su se manifester de manière diverse dans la production artistique de la vice-royauté du Pérou. Dans cette thèse, nous nous penchons sur le phénomène de la représentation de la nature dans la peinture andine coloniale, en nous concentrant en particulier sur la région occupée actuellement par le Pérou et la Bolivie, et sur une périodisation qui comprend principalement les XVIIe et XVIIIe siècles. Ce travail cherche à approfondir une problématique qui a été majoritairement oubliée ou sous-estimée par le discours critique de l’histoire de l’art de la période coloniale. Nous aborderons cette problématique à partir de différentes perspectives. Cependant, l'aspect religieux semble l’élément fondamental pour expliquer les principaux enjeux derrière ce geste pictural. La peinture de la nature et de l'espace fut représentative des valeurs et des fondements spirituels de la religiosité coloniale. Les andins ont pensé la nature comme un moyen de visualiser des expériences métaphysiques profondes, de repenser les identités religieuses et d’accorder aux images des pouvoirs magico-religieux qui s’avéraient essentiels pour le bien-être de différentes communautés. Bien que l’étude des rapports religieux soit indispensable pour élucider cette structure symbolique complexe, tant pour la peinture de paysage (comme unité organique), que pour la représentation des éléments individuels, la représentation de la nature a révélé, dans bien d'autres cas, des préoccupations concrètes directement liées aux circonstances, autant politique qu’ historique, de la société coloniale, en s’adaptant aux changements constants d’un espace et d’une société en transformation. Loin d'être uniquement soumis à l'exercice décoratif, ou dans le cas de la peinture religieuse, de remplir la fonction de contexte pictural, les peintres coloniaux ont valorisé cet élément en l'abordant comme un objet individuel, chargé de pouvoir symbolique et capable de transmettre des messages et de produire des discours, toujours en lien avec les préoccupations des différents secteurs de la société coloniale.
In the colonial period, the great subject matter of nature was instrumentalized by different sectors of Peruvian vice regal society. Essentially as an evangelization tool, but also as a space where colonial religiosity was manifested, the representation of nature was interpreted in different ways by artists and consumers of vice regal paintings. In this dissertation, we analyze the representation of nature in colonial Andean painting, focusing especially on the Central Andean region (currently covered by Peru and Bolivia) in the seventeenth and eighteenth centuries. This work seeks to move forward on an issue that has been largely underestimated by critical discourse of art history regarding the Latin American colonial period. We will discuss this problem from different perspectives. However, the religious aspect seems to be above all a fundamental element to explain the key issues behind this pictorial manner. The representation of nature was consistent with spiritual values that forged colonial religiosity. Andean people considered nature as a way to visualize deep metaphysical experiences by rethinking religious identities and granting to the images magical-religious powers essential for the well-being of communities. Beyond the religious aspect, we focus on the analysis of other consequences and interests that are related to the different forms of representation of territories and elements of nature, allowing different social groups to assert their ideological, political and cultural positions. The representation of nature and space in colonial painting was never a simple decorative object, nor, in the case of religious painting, did it fulfil the role of scenographic framework and background to pictorial stories. The colonial painters treated this element with particular concern, conceding it special value and narrative powers, according to different preoccupations in colonial society.
Staniscia, Mélanie. "Étude de la fonction symbolique du paysage dans les tableaux dévotionnels de Giovanni Bellini." Thèse, 2012. http://hdl.handle.net/1866/8528.
Повний текст джерелаDuring the 1500's,the villa was as a safe alternative to the city, offering to men the possibility to establish a relationship with nature. The villa was for writers, architects, and doctors a safe haven equipped with curative as well as sacred virtues that contributed to the happiness of mankind. While villas where multiplying in the Venetians countryside, they also began to be integrated in landscape paintings. Giovanni Bellini used nature to create the religious character of his works and to give a sense of well-being to his public. The bucolique landscape in which the religious figures gravited were presented with many symbols of the Virgin Mary and Child. The images of the Madonna, widely collected in Flanders and in Italy, stimulated the devotion of worshippers.
« Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal ».
Morris, David Roger Neacalbánn McIntyre. "Driekopseiland and the 'rain's magic power': history and landscape in a new interpretation of a Northern Cape rock engraving." Thesis, 2002. http://etd.uwc.ac.za/index.php?module=etd&.
Повний текст джерелаDavis, Lambert. "A visual investigation into images of land, sea, sky & cloud: history, science and travel applied to a contemporary art practice." Thesis, 2015. http://hdl.handle.net/1959.13/1310154.
Повний текст джерелаMy art practice combined with my life experience of coastal and marine environments forms the core of an academic investigation into the transitional development of painting styles in British land and seascape art from the late eighteenth to the mid-nineteenth centuries. While historically informed, this research is practice-based with a major component comprising a series of contemporary paintings of land, sea, sky and cloud. All the paintings I produced in relation to this investigation were created in the present time-frame and originated from field research conducted in local and distant coastal environments as well as during three sailing expeditions. Throughout an artistic practise ranging from a career as a children’s book illustrator to recording periodic journeys in sketchbooks, my work has been inspired by a lifelong connection to the coastal landscape and marine environment. More recently, while undertaking this PhD in Natural History Illustration, I have gained insight into the challenge of balancing the traditional role of a natural history illustrator to accurately record ones chosen subject, a particular time and place in the case of landscape, with the expressive brushstroke and colour that perhaps better convey a sense of the emotional experience. While making art is often a solitary discipline I have not been alone in my efforts to reconcile these related but often conflicting intentions. British land and seascape art during the eighteenth and nineteenth centuries produced some of the most historically significant examples of artists asserting a transformation from descriptive to expressive styles. This research investigates the modification in painting styles focusing on the artists accompanying the mariner James Cook (1728 – 1779) during his three famous voyages of discovery as well as the famous landscape painters John Constable (1776 – 1837) and Joseph Mallord William Turner (1775 – 1851). My art practice, conducted in a systematic and experimental way, informed by the experiences of these selected British artists provides a practice-based investigation of theories surrounding their work. This research has been undertaken with the intention of better understanding my own art practice and providing knowledge for other artists conducting similar practice-based research. Furthermore, my intention has been to inspire interest in the field for the broader community by providing personal insight into an important period of British history encompassing art, science and exploration and the influence this period has on contemporary art practice.