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Статті в журналах з теми "Musées de la photographie"
Bocard, Hélène. "La photographie dans les musées de moulages." Revue de l'art N° 181, no. 3 (March 1, 2013): 43–50. http://dx.doi.org/10.3917/rda.181.0043.
Повний текст джерелаTardy, Cécile. "La photographie documentaire à l’épreuve du dess(e)in informatisé : mise en contexte sur les sites Web de musée." Documentation et bibliothèques 56, no. 1 (March 18, 2015): 15–23. http://dx.doi.org/10.7202/1029169ar.
Повний текст джерелаNachtergael, Magali. "La Photographie plasticienne: une question française?" Nottingham French Studies 53, no. 2 (July 2014): 139–54. http://dx.doi.org/10.3366/nfs.2014.0082.
Повний текст джерелаMéaux, Danièle. "La mise en œuvre de la photographie dans les dispositifs de type scénographique." Figures de l'Art. Revue d'études esthétiques 18, no. 1 (2010): 157–69. http://dx.doi.org/10.3406/fdart.2010.900.
Повний текст джерелаPotvin, Claudine. "Muses et musées : l’effet « tableau » de l’écriture." Dossier 19, no. 2 (August 30, 2006): 279–93. http://dx.doi.org/10.7202/201091ar.
Повний текст джерелаFache, Catherine. "Comment organiser un concours de photographie réservé aux jeunes?. L'expérience des Amis des musées de Belgique." Museum International (Edition Francaise) 43, no. 4 (April 24, 2009): 225–29. http://dx.doi.org/10.1111/j.1755-5825.1991.tb00436.x.
Повний текст джерелаWolf, Laurent. "L'artiste, la règle et l'interdit." Études Tome 414, no. 3 (March 1, 2011): 365–75. http://dx.doi.org/10.3917/etu.4143.0365.
Повний текст джерелаFaber, Monika, and Marc Beghin. "La photographie comme illustration livresque : réalité de la production photographique « de masse » dans les années 1850-1860." Austriaca 83, no. 1 (2016): 47–72. http://dx.doi.org/10.3406/austr.2016.5083.
Повний текст джерелаAlbera, François. "Le musée, les expositions de photographie : Éléonore Challine, Une histoire contrariée. Le musée de photographie en France (1839-1945) ; Transbordeur. Photographie Histoire Société no 2." 1895, no. 85 (September 30, 2018): 193–98. http://dx.doi.org/10.4000/1895.6646.
Повний текст джерелаChaumier, Serge, and Véronique Parisot. "Un nouvel interdit au musée : la photographie ?" La Lettre de l’OCIM, no. 115 (February 1, 2008): 23–30. http://dx.doi.org/10.4000/ocim.285.
Повний текст джерелаДисертації з теми "Musées de la photographie"
Challine, Éléonore. "Une étrange défaite : les projets de musées photographiques en France (1850-1945)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010506.
Повний текст джерелаThis doctoral dissertation treats the history of the projects of museums of photography in France between 1850 and 1945. It aims to study and identify the various conceptions of the photographic museum - documentary, artistic, historical, technical, etc. – and their history. Between the late nineteenth century and the Second World War, two main ideas coexist in the design of photographic museum: what we shall call "museum of photographs," where photography is first and foremost the means of a visual encyclopedia or documentation, and on the other hand what we shall call a "museum of photography" dedicated to photography for its own sake, not as a means of recording reality, but as a medium. This conceptual ambiguity – Is photography the tool or the subject of the museum ? — is inherent in the relationship between the photograph and the museum, and is one of the principle lines of inquiry in this study. This work examines the causes of these institutional failures given the lack of implementation of these projects, some of which were tried but never continued. It hinges on three chronological periods that trace the major developments of these projects : the years between 1850-1880, where photography and the museum meet; the years of the 'imagined museums photography’ in 1880-1910 where we can see various museum forms develop; and finally, the Interwar period which can be considered as the moment where the true battle for the museum of photography emerged
Blanchard, Benoît. "Photographie contemporaine, institutionnalisation et marché de l'art (1995-2005)." Paris 8, 2012. http://www.theses.fr/2012PA083821.
Повний текст джерелаPhotography, contemporary, institutions and the art market are the starting elements of the questioning of this thesis. How and why the contemporary art world continues to stumble on the photographic medium? Such is the main problem of this work. We will start from the contradictions inherent in this problem to question the borders of the institutionalized contemporary art world, their condition of existence and the relationships they establish in society, especially those with the public and the consumer society. What place for photography in this system and the extent to which contemporary qualifier may be attributed to photography will be the theme of this research. These lead us from the genesis of the institutional integration phenomenon of the photographic medium in contemporary art market to achieve a re-questioning of the photograph according to it contemporaneity
Giakoumís, Cháris. "L'appropriation des oeuvres d'art par la photographie, du dix-neuvième au vingtième siècle." Paris 8, 1997. http://www.theses.fr/1997PA081333.
Повний текст джерелаThis theoritical and practical research concentrates on a single aspect of the vast field dealing with the relationships between art and photography, that is to say the role of photography a means of reproducing works of art. The specificity of this work is to develop a visual research as well as a theoritical one. Since its very beginnings, photography has been considered as a method of reproducing art works without being able to appropriate its subjects. Our main hypothesis is as follows : since its invention, photography has been assigned the task of "serving art and science" and it has always fulfilled this role. However it has also managed to transform this function into a real creative force, thus proving that it was not only capable of going further, but also of changing drastically the foundations of art. At the dawn of the third millennium, the appropriation function of photography has given artistic creation a new orientation. It has also found new ways of relating to art works in general as well as to its own works of art in particular
Cheishvili, Ana. "Collectionneurs et collections d'objets caucasiens dans les musées français : histoire et apports des voyages scientifiques au Caucase. (XIXè - début XXè s.)." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0176.
Повний текст джерелаThis thesis focuses on the analysis of French scientific missions in the Caucasus region and the collections brought back to France following these expeditions. The study covers the period from the mid-19th century to the early 20th century, before the major political changes of the 1910s-1920s. The primary focus is on the scientific missions mandated by the Ministry of Public Instruction, without neglecting collections from non-scientific journeys or antiquarians. This research highlights the interest of the French scientific community in the Caucasus in the 19th century, as well as the motivations of the researchers who went there and the work they conducted in the field. Another priority of this study was to examine the archaeological, ethnographic, and photographic collections held in various museums and archives in France. To do this, an inventory of a database of Caucasian collections and the collection of biographical information on French researchers who contributed to these missions was necessary. The contribution of these collections to the reflection on cultural transfers between the Caucasus and France is also examined. The ultimate goal was the identification and study of these collections for their future integration into museography, highlighting the names of researchers and photographers whose journeys in the Caucasus were previously unknown
Mauuarin, Anaïs. "L'éthnologie à l'épreuve des images : photographie et ethnologie en France, 1930-1960." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H057.
Повний текст джерелаOften looked upon as a « discipline of words », French anthropology saw the birth of a real photographic image culture within its ranks from the 1930’s onward. The present dissertation wants to contrast this fruitful moment in the relationships between anthropology and photography, and to consider the evolution of the place and the status of pictures until the 1960’s. In this end, its draws on discourses dealing with photography and on photographic institutional policies – at the muséed’Ethnographie du Trocadéro, the musée de l’Homme and the Institut Français d’Afrique Noire – and open up this in dialogue with an analysis of distribution medium and field practices.Thus, this work reveals that an ambitious visual project is developed in the 1930’s from theTrocadéro, which contributes to the creation of an anthropological audience. It heightens throughout the following decades, with the success of the musée de l’Homme’s photo library and the renewed craze for exoticism and exploration. However, the mutations of the institutional landscape together with the colonial tensions of the 1950’s put into question this predilection for pictures: the interestfor using photographs, for collecting and spreading them is no longer agreed upon unanimously
Ilic, Nevena. "Former factory fotokemika as a museum of photography." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/21121.
Повний текст джерелаVan, de Casteele Marlène. "Le making of de la photographie de mode (1932-2017) : culture matérielle, instance collective, image plurielle." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2095.
Повний текст джерелаThis doctoral thesis intends to explore the ‘making-of’ of fashion photography, over several decades and geographies. The aim is to operate an epistemological displacement to rethink fashion photography beyond certain interpretations that identified its scope with semiotic, gender or identarian paradigms. Rather, this study proposes to think the ‘making of’ as a result of practices, negotiations, exchanges and hierarchies that characterize – but also move beyond – the very action of producing and publishing a fashion photograph. By shedding light on the multiple and overlooked sources produced around the production and circulation of the fashion image, the research explores three moments in the life of fashion photographs: the making of a fashion photograph; the collecting and conserving practices; and its exhibition. Therefore, the ‘making-of’ is here understood in a broad sense. This term is not only used to identify the descriptions and detailed information showing creative processes behind the production of a fashion photograph or an editorial series, but it also takes into consideration the mechanisms of circulations beyond the industry, the networks and the institutional processes concurring to the formation of the cultural value of an image. In doing so, this thesis sheds light on the polysemic meanings and values of fashion photography, moving beyond an interpretational path that has restricted this practice into an “applied” art in search of artistic legitimization
Figini-Véron, Véronique. "L'Etat et le patrimoine photographique : des collectes aléatoires aux politiques spécifiques, les enrichissements des collections publiques et leur rôle dans la valorisation du statut de la photographie : France, seconde moitié du XXe siècle." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010733.
Повний текст джерелаPhotography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts
L'Écotais, Emmanuelle de. "Le fonds photographique de la dation Man Ray : étude et inventaire." Paris 4, 1998. http://www.theses.fr/1997PA040169.
Повний текст джерелаThe National Museum of Modern Art in Paris has received, in 1994, the entire collection of Man Ray, issued from his workroom, 2 bis, rue Férou in Paris. Twelve thousands of negatives (plus one thousand and five hundred donated by Lucien Treillard), five thousand of contacts (vintages), seventy vintage prints are now in the photographic collection of the museum. This study has been made from this fund, and was also based on all the publications of the artist between 1921 and 1944. It completes our knowledge of man ray's work, showing all the unknown part of it : like the importance of the commercial work (proved by the majority of portraits in the fund), or his way of photographying, that we can now explain by taking examples of unknown variants of famous images (Le violon d'Ingres, Les larmes, etc). This fund and study show the importance of man ray in the dada movement, and also in the birth of surrealist movement, as a photographer more than as a painter. Volumes iii and iv of this thesis are dedicated to the inventory of the five thousand contacts. Though we have studied also the negatives to write this thesis, there is no detailed and official inventory of them
Regourd, Martine. "Musées et communication : recherche au regard des musées des Beaux-Arts de province." Toulouse 2, 1998. http://www.theses.fr/1998TOU20035.
Повний текст джерелаThis thesis is an attempt to measure the different evolutions regarding provincial beaux-arts museums in relation with communication. This link between museums and communication is successively analyzed under two different but complementary stand point: on the one hand, the analysis of the museum as a sphere of communication and on the other hand the performances accomplished regarding the communication of museums. The main purpose deals with so-called idea of the "entry of museums in the communication sphere". Standing upon authors like Habermas, a central question lays down: how does the organization of a museum alters while facing up the society of communication? Does the public sphere of the museum submit to the alterations due to prevailing contemporary features specific to cultural industries? After a historical return, including specially the advent of the notion of citizenship, the theoretical approach on which lies the organization of this institution will be analyzed: a public utility service which assignment is above all aesthetical and pedagogical. Concerning the study of the public, O. Donnat's work regarding the quantitative approach and those of P. Bourdieu for the quantitative one will be the main references. A cross-wise approach has been undertaken: one the one hand, the setting up of the modalities of an eventual tool of communication through temporary exhibitions, and on the other hand the appreciation of the scope of the so-called measures of rationalization in the management of the museums and their public. These evolutions are facing up the basic assignments of the museums and its ability to develop a discursive dimension setting it up as a public sphere. This research is validated by a survey based upon a questioner for which 91 beaux-arts museums have responded and on several interviews with curators of some of them
Книги з теми "Musées de la photographie"
Heilbrun, Françoise. Orsay: La photographie. Paris: Editions Scala, 2000.
Знайти повний текст джерелаRéattu, Musée. Photographie: [catalogue. [Arles]: Musées d'Arles, 1990.
Знайти повний текст джерелаFrançoise, Heilbrun, ed. La photographie au Musée d'Orsay. Paris: Skira-Flammarion, 2008.
Знайти повний текст джерелаHélène, Pinet, and Musée Rodin, eds. Rodin et la photographie. Paris: Gallimard, 2007.
Знайти повний текст джерелаMusée français de la photographie. Une autre histoire de la photographie: Les collections du Musée français de la photographie. Paris: Flammarion, 2015.
Знайти повний текст джерелаLatulippe, Martine. Enquête au musée. Québec, Québec, Canada: Les éditions FouLire Inc., 2013.
Знайти повний текст джерелаGeorges, Vercheval, and Musée de la photographie (Charleroi, Belgium), eds. Musée de la photographie Charleroi: Centre d'art contemporain de la communauté française de Belgique. [Bruxelles]: Crédit communal, 1996.
Знайти повний текст джерелаMusée d'art moderne et contemporaine de Strasbourg. Photographie: Collection du Musée d'art moderne et contemporain. [Strasbourg]: Musées de la Ville de Strasbourg, 1990.
Знайти повний текст джерелаDessureault, Pierre. Pierre Boogaerts: Le réel, le regard, l'image. Ottawa: Musée canadien de la photographie contemporaine, 2001.
Знайти повний текст джерелаDessureault, Pierre. Pierre Boogaerts: Reality, vision, image. Ottawa: Canadian Museum of Contemporary Photography, 2001.
Знайти повний текст джерелаЧастини книг з теми "Musées de la photographie"
Stiegler, Bernd. "Photographie." In Robert Walser-Handbuch, 368–71. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04595-9_49.
Повний текст джерелаWinter, Rainer, and Roland Eckert. "Photographie." In Mediengeschichte und kulturelle Differenzierung, 41–54. Wiesbaden: VS Verlag für Sozialwissenschaften, 1990. http://dx.doi.org/10.1007/978-3-322-95923-2_4.
Повний текст джерелаHorstkotte, Silke. "Photographie/Photographieren." In W. G. Sebald-Handbuch, 166–74. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05395-4_26.
Повний текст джерелаSchnelle-Schneyder, Marlene. "Photographie und Bewegung." In Sehen und Photographieren — Von der Ästhetik zum Bild, 171–224. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-662-09841-7_10.
Повний текст джерелаCottenceau, Geoffrey, and Romain Rousset. "Photographie Fotografie Photography." In Bourses fédérales de design Eidgenössische Förderpreise für Design Swiss Federal Design Grants 2007, 63–80. Basel: Birkhäuser Basel, 2008. http://dx.doi.org/10.1007/978-3-7643-8450-0_5.
Повний текст джерелаSchnelle-Schneyder, Marlene. "Photographie und Bewegung." In Sehen und Photographie, 177–230. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-15150-7_10.
Повний текст джерелаKabatek, Wolfgang. "Photographie im Einsatz." In Mit Deutschland um die Welt, 145–52. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02955-3_15.
Повний текст джерелаOstwald, Julia. "Phonographie - Photographie - Choreographie." In TanzScripte, 202–8. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839468449-046.
Повний текст джерелаPreradović, Dubravka. "L’historique du Fonds photographique de plaques de verre noir et blanc du Musée national de Belgrade sur les monuments médiévaux." In Patrimoine photographié, patrimoine photographique. Publications de l’Institut national d’histoire de l’art, 2013. http://dx.doi.org/10.4000/books.inha.3927.
Повний текст джерела"Photography Credits." In Whose Muse?, 208. Princeton University Press, 2004. http://dx.doi.org/10.1515/9780691188683-011.
Повний текст джерелаТези доповідей конференцій з теми "Musées de la photographie"
Teodosio, Annarita. "The eye of the architect. Le Corbusier and the photograph: demonstrate, learn, remember." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.947.
Повний текст джерелаŠimić, Snježana. "La photographie comme machine temporelle." In L’art, machine à voyager dans le temps. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4700.
Повний текст джерелаBlanchard, Damien. "Post-poésie et photographie (1990-2015)." In Le livre en mouvement : poésie et arts visuels aux XXème et XXIème siècles. Fabula, 2018. http://dx.doi.org/10.58282/colloques.5161.
Повний текст джерелаSato, Yuta, and Yasushi Kambayashi. "A rehabilitation-through-photographing support system for muscular dystrophy patients." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002827.
Повний текст джерелаChapuis, Bérengère. "Ce que le document fait à la photographie." In Ce que le document fait à la littérature (1860-1940). Fabula, 2012. http://dx.doi.org/10.58282/colloques.1760.
Повний текст джерелаCohen, Nadja, and Anne Reverseau. "Photographie ou cinéma ? Le brouillage des modèles dans la poésie moderniste." In Création, intermédialité, dispositif. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4430.
Повний текст джерелаOkano, Ken, and Kazuyoshi Takayama. "Impact tests for fly-by sampling by MUSES-C projector." In 24th International Congress on High-Speed Photography and Photonics, edited by Kazuyoshi Takayama, Tsutomo Saito, Harald Kleine, and Eugene V. Timofeev. SPIE, 2001. http://dx.doi.org/10.1117/12.424264.
Повний текст джерелаDumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
Повний текст джерелаOliveira, Cleriston Boechat de. "American Photographs de Walker Evans: a relação de interesses entre o museu e o artista na primeira exposição individual de um fotógrafo no MOMA." In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4201.
Повний текст джерелаLinsenmeyer, Christina. "CIMCIM Proceedings Series." In CIMCIM Proceedings. CIMCIM, 2023. http://dx.doi.org/10.46477/vhyi6410.
Повний текст джерелаЗвіти організацій з теми "Musées de la photographie"
Radonić, Ljiljana. L’usage de la Shoah dans la mémoire des crimes du XXe siècle en Europe de l’est. Verlag der Österreichischen Akademie der Wissenschaften, January 2023. http://dx.doi.org/10.1553/0x003dfcbb.
Повний текст джерела