Дисертації: "Painting, European – 19th century"

1

Coutts, Kieran Howard Julian. "European ceramic design, 1500-1830." Thesis, University of St Andrews, 1994. http://hdl.handle.net/10023/15336.

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This thesis looks at the design and decoration of European ceramics in the period 1500-1830, paying particular attention to their place within the evolution of stylistic trends within European art and design in this period, including the dissemination of designs through prints during the Renaissance; the influence of the import of Oriental goods in the 17th and 18th centuries; the influence of metalwork in the 18th century; and the influence of the Classical revival of the late 18th century. It pays particular attention to the usage of objects and changes in eating and drinking, including the emergence and decline of service a la francaise in the 18th century, and the use of ceramics as room decoration in this period. It also considers ceramic product as an aspect of economic theory such as mercantilism and changes in society and industrial production.

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2

Lee, Sai-chong Jack, and 李世莊. "China trade painting: 1750s to 1880s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015442.

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3

Lee, Sai-chong Jack. "Painting in western media in early twentieth century Hong Kong /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19668296.

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4

Gude, Tushara Bindu. "Between music and history Rāgamālā paintings and European collectors in late eighteenth-century northern India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2023838261&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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5

Gill, Laura Fox. "Peripheral vision : the Miltonic in Victorian painting, poetry, and prose, 1825-1901." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/72673/.

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This thesis explores the influence of John Milton on the edges of Victorian culture, addressing temporal, geographical, bodily, and sexual thresholds in Victorian poetry, painting, and prose. Where previous studies of Milton's Victorian influence have focused on the poetic legacy of Paradise Lost, this project identifies traces of Miltonic concepts across aesthetic borders, analysing an interdisciplinary cultural sample in order to state anew Milton's significance in the period between British Romanticism and early twentieth-century critical debates about the value of Paradise Lost. The project is divided into four chapters. The first explores apocalyptic images and texts from the 1820s-Mary Shelley's The Last Man (1826) and the paintings of John Martin-in relation to Miltonic aetiology and eschatology. These texts offer a complex re-thinking of the relation between personal loss and universal catastrophe, which draws on and positions itself against prophecy and apocalypse in Paradise Lost. In the second chapter I address conceptual connections that cross boundaries of medium and nationality, identifying the presence of a Miltonic notion of powerful passivity in the writing and marginalia of Herman Melville and the paintings and anecdotal appendages of J. M. W. Turner. In the third chapter I consider Milton's importance for A. C. Swinburne's poetic presentation of peripheral sexualities, identifying in Milton's poetry a pervasive metaphysics of bodily 'melting' or 'cleaving' which is essential to Swinburne's poetic project. The final chapter analyses the presence of the Miltonic in the fiction of Thomas Hardy, whose repeated readings of Milton contributed to both establishing his poetic vocabulary, and prompting a career-long engagement with Miltonic ideas. The thesis refocuses attention on peripheral elements of the work of these writers and artists to re-articulate Milton's importance for the Victorians, whilst bringing together models of influence which show the Victorian Milton to be at once liminal and galvanising.

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6

Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.

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7

Wong, Mei-kin Maggie, and 黃美堅. "Collecting and picturing the orient: China's impact on nineteenth-century European Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2954452X.

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8

Sotiropoulos, Michail. "European jurisprudence and the intellectual origins of the Greek state : the Greek jurists and liberal reforms (ca 1830‐1880)." Thesis, Queen Mary, University of London, 2015. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9111.

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This thesis builds on, and contributes to recent scholarship on the history of nineteenth‐century liberalism by exploring Greek legal thought and its political implications during the first decades after independence from the Ottomans (ca.1830‐1880). Protagonists of this work of intellectual history are the Greek jurists—a small group of very influential legal scholars—most of whom flocked to the Greek kingdom right after its establishment. By focusing on their theoretical contributions and public action, the thesis has two major contentions. First, it shows that the legal, political and economic thought of the jurists was not only conversant with Continental liberal currents of the Restoration, but, due to the particular local context, made original contributions to liberalism. Indeed, Greek liberals shared a lot with their counterparts in France, Italy and Germany, not least the belief that liberty originated in law and the state and not against them. Another shared feature was the distinction between the elitist liberal variant of the ‘Romanist’ civil lawyers such as Pavlos Kalligas, and the more ‘radical moderate’ version of Ioannis Soutsos and Nikolaos Saripolos. At the same time, the Greek liberals, seeking not to terminate but to institutionalize the Greek revolution, tuned to the radical language of natural rights (of persons and states) and national sovereignty. This language, which sought to control the rulers, put more contestation in power and expand political participation gained wide currency during the crisis of the 1850s, which exposed also the precarious place of Greece in the geography of European civilization. The second contention of the thesis is that this ‘transformation of thought’, informed the ‘long revolution’ of the 1860s and the new system of power this latter established. By so doing, it shows that liberal jurisprudence provided the intellectual foundations upon which the modern Greek state was build.

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9

Fitzpatrick, Devin Marie. "The interrelation of art and space an investigation of late nineteenth and early twentieth century European painting and interior space /." Online access for everyone, 2004. http://www.dissertations.wsu.edu/Thesis/Spring2004/d%5Ffitzpatrick%5F043004.pdf.

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10

Strickrodt, Silke. "Afro-European trade relations on the western slave coast, 16th to 19th centuries." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/2616.

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This thesis deals with the Afro-European trade on the Western Slave Coast from about 1600 to the 1880s, mainly the slave trade but also the trade in ivory and agricultural produce. The Western Slave Coast comprises the coastal areas of modem Togo and parts of the coastal areas of Ghana and Benin. For much of the period under discussion, this region was dominated by two kingdoms, the kingdom of the Hula (or Pla), known to European traders as Great or Grand Popo, after its coastal port (in modern Benin), and the kingdom of the Ge (Gen/Guin/Genyi), known to European traders as Little Popo, after its main coastal port (in modern Togo). In the nineteenth century, two more ports of trade appeared in the region, Agoud (in modem Benin) and Porto Seguro (in modern Togo). In terms of the Afro-European trade, this was an intermediate area between regions of greater importance to slave traders, the Gold Coast to the west and the eastern Slave Coast (mainly the kingdom of Dahomey) to the east. This thesis gives a detailed reconstruction of the political and commercial developments in the region, especially for the period from the 1780s and the 1860s. The discussion is based mainly on archival material from British, French and African archives, but also makes use of a wide range of published accounts, mainly in English, French and German, and information from oral traditions. Beyond its immediate local interest, the thesis contributes to our understanding of the operation of the Afro-European trade and its impact on African middleman societies. The intermittent commercial success of 'the Popos' illustrates the dynamics of the trade especially clearly. The Western Slave Coast is placed into the wider transatlantic trade network and its role in the trade re-evaluated. The link between the local and overseas economy is illustrated by the centrality of the lagoon, which is discussed in detail. Other important issues that are addressed include the role of the canoemen in the trade, the transition from the slave trade to the palm oil trade and the Afro-Brazilian settlement at Agoue.

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11

Baldridge, Kalyn Rochelle. "L'auguste Autrichienne| Representations of Marieantoinette in 19th Century French Literature and History." Thesis, University of Missouri - Columbia, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10629008.

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Maria Antonia Josepha Joanna, or as she is most well-known, Marie-Antoinette (1755-1793) spent her entire life under the watchful eye of many. Fashioned from birth as an Austrian aristocrat, she was transported to France at age fourteen to meet and marry the future king of France. From the onset of her arrival, French writers made attempts to capture what they observed. However, personal bias, political leanings, and accepted rumor led them to do more than record what they saw. Rather than simply narrate a scene, these early witnesses of Marie-Antoinette became the interpreters of her thoughts, motives and feelings. As these interpretations grew, they became widely accepted as truth and eventually became the agents leading to Marie-Antoinette’s demise, as previous biographers and historians of Marie-Antoinette have amply discussed.

In this dissertation I suggest going beyond an analysis of the literature that led to Marie-Antoinette’s death, and examining the numerous times that Marie-Antoinette’s story was reinterpreted during the century after her death. I will examine nineteenth-century texts from several different authors and genres, including: the historical biographies of Christophe de Montjoye, Lafont d’Aussonne, Alcide de Beauchesne, Edmond and Jules Goncourt, and Horace de Viel-Castel; the eye-witness testimonies of Jean-Baptist Cléry, Henriette Campan, and Rosalie Lamorlière; the historical fiction of Elisabeth Guénard Brossin de Méré and Alexandre Dumas; and finally the archival compilations of Emile Campardon and Gaston Lenotre. I will examine each author’s choice of genre, as well as how contemporary trends in literature, historical studies and even politics influenced their interpretation of Marie-Antoinette.

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12

Lee, Sai-chong Jack, and 李世莊. "Painting in western media in early twentieth century Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214344.

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13

Hoene, 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.

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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.

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14

Dudley, Ian A. "Edward Goodall's 'Sketches in British Guiana' : art, anthropography and colonialism in 19th century Amazonia." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20121/.

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This thesis examines sketched portraits of Amerindian peoples created by the English artist Edward Goodall during the 1841-1844 Boundary Survey of British Guiana, now Guyana, which was carried out by the German scientific explorer, Robert Schomburgk. The portraits formed part of a larger body of over 250 drawn and watercolour works labelled as Sketches in British Guiana, and carried out by Goodall in his role as official expedition illustrator. These sketches captured a wide range of geographical subjects, from botany, topography and zoology, to hydrography, geology and historical scenes of the expedition itself, in addition to the ethnographic representations upon which this thesis focuses, and which dominate the body in terms of their numbers and interest. The sketches were carried out in relation to the cartographic and geographical mapping and documenting of the Guayana territory and its peoples by Schomburgk as he moved across the disputed border regions between British Guiana and its neighbouring colonial states, Brazil, Venezuela and Surinam. Focusing on the works as a manifestation of the different subjective forces and ideologies at play within this colonial enterprise, I argue the portraits and Sketches more generally, exemplify art’s cooption as a tool of colonial reconnaissance, expansion and domination during the mid-nineteenth century, playing a key role in visualising the geographical colonization that Schomburgk’s Boundary Survey represented, capturing disputed inhabitants and their locales as they were inscribed onto British colonial maps, and substantiating British imperial claims over them. In essence, through Goodall’s work, Schomburgk sought to cultivate and performatively demonstrate knowledge of and control over Amerindians through their representation, which paralleled the way the Guayana landscape was brought into British guardianship, all under the aegis of Christian humanitarianism, scientific advance and national-imperial prestige.

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15

Mills, Andrew Joseph. "Escaping satisfaktion dueling violence and the German literary canon of the long 19th century /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378372.

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Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2009.
Title from PDF t.p. (viewed on Jul 7, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3870. Adviser: William Rasch.

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16

Kennedy-Churnac, Yoshan A. "The Weight of Words: Discourse, Power and the 19th Century Prostitute." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/93.

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This thesis discusses discourses surrounding the urban prostitute in mid-nineteenth century Paris and London. During the nineteenth century, sexuality became a topic of increasing concern and an outpouring of literature on deviant sexuality and ways to regulate it appeared from moral commentators, social scientists, and physicians. Different historical moments saw the prevalence of different approaches taken, whether it was through the moral counsel of religious pamphlets, or through the methodological approach implemented by medical journals and social surveys. My study will trace the evolution of sexual discourses on prostitutes as well as how their authors influenced attempts to regulate these women. My primary argument is that sexual discourses of this period were organized around definitions of normality and deviancy, the understanding of what constitutes respectability, and the desire to control marginalized populations. The discursive literature on prostitution that appeared during this century thus provides an indication of how power manifests itself in unseen ways and how the power of words can shape definitions of sexuality and deviance.

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17

Lam, Lai Sing. "Origins and development of the traditional Chinese roof : 16th century B.C.-19th century A.D." Thesis, Queensland University of Technology, 2001.

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18

Anesti, Maria. "'La femme modèle' from the first communicant to the affectionate mother : a dialogue between painting and moral discourse under the early Third Republic (1870-1900)." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7574.

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This PhD dissertation seeks to define the configuration and evolution of French women’s moral identity and social status, through works of art created during the first thirty years of the Third Republic (1870-1900). More specifically, my thesis investigates the artistic perception and visual recording of “traditional” female roles and analyses the socio-historical factors which contributed to the construction of the ideal woman. I focus on the representation of young girls’ education and First Communion and study the portrayal of maternity which was perceived both as a personal role and a republican ideal. Furthermore, I consider the institutions of marriage and family through portraits and scenes of everyday life. The woman’s relations to the Catholic Church within a secular state, as well as the notions of chastity and patriotism, are thoroughly explored. In my dissertation I prioritised nineteenth century texts, where French doctors, demographers and statesmen from different ideological backgrounds give moral guidelines concerning hygiene, breastfeeding and childcare, or analyse phenomena such as the birth rate decline. The writings of these authors who communicated major social anxieties served as an evaluative platform; more specifically, I ventured to see how French painters and illustrators participated to the most important debates of their time. Therefore, the criterion for the choice of images was not artistic excellence, but their engagement with the moral and social issues I decided to consider. Since in my thesis pictures are treated within a socio-historical context, I was challenged to achieve a balance between the visual and theoretical material, making them inter-relate effectively. Finally, my time-frame covers the three first decades of the French Third Republic and observes the succession of different governments. I investigate to what extent certain social attitudes which were developed during this period of thirty years shifted, and try to find out whether these alterations are conveyed in painting.

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19

Schuman, Samuel A. "Representation, Narrative, and “Truth”: Literary and Historical Epistemology in 19th-Century France." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1621948796558803.

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20

Brick, Michael 1984. "The proffered pen: Saint-Simonianism and the public sphere in 19th century France." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11270.

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viii, 157 p.
The French "utopian socialist" movement known as Saint-Simonianism has long been recognized for its influence among 19th century engineers. An examination of the early Saint-Simonian journal, Le Producteur , however, reveals the articulation of an appeal to contemporary men of letters. A survey of the life and career of Hippolyte Carnot, a prominent Saint-Simonian man of letters, confirms and illustrates the nature of this appeal as it developed alongside Saint-Simonian ideology. Central to this appeal was the Saint-Simonians' attributing to the "artist" the role of moral educator. In their conceptualization of this function, the Saint-Simonians essentially presented a model of what Jürgen Habermas has termed the "public sphere" in strong contrast to that of classical liberalism. In the final analysis, however, the Saint-Simonians can be read as arguing not for the totalitarian domination of public life (as some have suggested) but rather the necessity of what Antonio Gramsci described as "hegemony."
Committee in charge: Dr. George Sheridan, Chair; Dr. David Luebke, Member; Dr. Daniel Pope, Member

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21

Ignatidou, Artemis. "Four short (hi)stories of a 19th century Greek-European musical interaction, and the cultural outcomes thereof." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/16094.

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The thesis investigates the impact of western art music ('classical') upon the construction of Greek-European identity in the 19th century. Through the examination of institutions such as the Theatre of Athens that hosted the Italian opera for the better part of the 19th century, the Conservatory of Athens (1873), the Conservatory of Thessaloniki (1914), various 19th century literary societies, press content, scores, publications on music, and state regulations on education, the thesis utilizes both musical, as well as extra-musical material to construct a cultural and social history of Greece's understanding of the 'European' in relation to local Greek society through music between 1840 and 1914. At the same time, it highlights the importance of transnational institutional and interpersonal musical networks between Greece and Europe (mainly England, France, and Germany), to demonstrate how political and aesthetic preferences influenced long-term policy, cultural practice, and musical tradition. While examining the 19th century diplomatic, political, and cultural practices of the expanding 19th century Greek Kingdom, the thesis traces the development of western musical taste and practice in Balkan Greece in relation to the local modernizing society. It highlights the importance of local and European artistic agents and networks, identifies the tension between the projection of European identity and raw acoustic divergence, argues for about the contribution of music to the construction of Greek-European identity, and examines the cultural and political negotiations about the conflicting relationship between Byzantine-Hellenic-European-Modern Greek, as expressed through music and debates on music. The last part of the thesis assembles the 19th century material to explain the relationship between nationalism and musical practice at the turn of the 20th century, and as such the long-term influence of western art music upon the construction of Greek-European national identity.

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22

Dobreva, Nikolina Ivantcheva. "The curse of the traveling dancer Romani representation from 19th-century European literature to Hollywood film and beyond /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/dissertations/AAI3379952/.

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23

Pasco, Hélène. "When 19th century painters prepared organic-inorganic hybrid gels : physico-chemical study of « gumtions »." Electronic Thesis or Diss., Sorbonne université, 2019. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2019SORUS296.pdf.

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Les médiums étaient utilisés par les peintres aﬁn de modiﬁer la texture et le séchage de leur peinture. Au 19ème siècle, des artistes britanniques ont développé un médium composé d’huile siccative, de résine mastic et d’acétate de plomb trihydraté : le « gumtion ». Ce matériau de type gel surpasse les additifs alors existants. Dans cette thèse, nous contribuons à la compréhension des processus chimiques impliqués dans la formation et le vieillissement des gumtions. Dans un premier temps, nous avons centré l’étude sur la résine mastic, car il s’agit d’un élément clé dans la préparation des gels. La fraction triterpénique de la résine a été identiﬁée et quantiﬁée par GC/MS. De plus, nous avons étudié par ellipsométrie les propriétés optiques de vernis sous forme de ﬁlms minces, ainsi que leur comportement (gonﬂement) sous différentes atmosphères. Puis, en reproduisant des recettes historiques et aﬁn d’approfondir la compréhension des interactions chimiques entre les composants du gel, nous avons développé des formulations simpliﬁées à base d’acide oléanolique (triterpène commercial) et d’un composé de plomb (acétate ou oxyde). L’utilisation de techniques d’analyses complémentaires aux échelles moléculaire (IR, MAS-RMN) et supramoléculaire (cryo-TEM, SAXS) indique dans un premier temps la formation d’un complexe de coordination entre le plomb et les fonctions acides des triterpénoïdes, qui s’arrangent en objets 2D expliquant le comportement viscoélastique du matériau. Après plusieurs mois de vieillissement, nous avons observé l’auto-organisation de nanoparticules cristallines en en lamelles, témoignant du caractère dynamique de ce matériau même avec géliﬁcation
Mediums were used by painters in order to modify the texture and drying properties of their paint. During the 19th century, British artists developed a particular medium made of siccative oil, mastic resin and lead acetate trihydrate. The so-called “gumtions” form gel-like materials in a relatively short time, outperforming the existing paint media. This thesis contributes unveiling the chemical processes involved in the formation and ageing of gumtions. As a ﬁrst step, we focused on mastic resin since it is a key component for the preparation of gumtion. The triterpenic fraction of the resin was identiﬁed and quantiﬁed using GC and GC/MS. Moreover, we took advantage of Spectroscopic Ellipsometry so as to study the optical properties of varnish thin ﬁlms as well as their behaviour (swelling) under various atmospheres. Then, we reproduced historical recipes that helped us afterwards to deﬁne simpliﬁed formulations to deepen the understanding of the chemical interactions between the gel components, made of oleanolic acid (commercial triterpenoid) and a lead compound (acetate or oxide). They were investigated at dierent scales by spectroscopic (FTIR, MASNMR) and supramolecular analyses (Cryo-TEM, SAXS). The use of these complementary techniques gives an overview of the gel’s structure and formation: rapidly, a coordination complex is formed between lead and the carboxylic acid moieties of the triterpenoids, that organizeinto2Dobjectsleadingtothesolid-likebehaviorofthematerial. After few months ageing, we observed the self-assembly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation.bly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation

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24

Filippa, Kenne. "The object biography of Breakfast-Piece by Nicolaes Gillis : The reception of Netherlandish art in Sweden during the 19th century." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182722.

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25

Wilsey, Shannon K. "Interpretations of Medievalism in the 19th Century: Keats, Tennyson and the Pre-Raphaelites." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/20.

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This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.

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26

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.

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27

Akard, Carrie Meitzner. "Southern Genre Painting and Illustration from 1830 to 1890." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277611/.

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The purpose of this thesis is to give a concise view of stylistic, iconographical, and iconological trends in Southern genre paintings and illustrations between 1830 and 1890 by native Southern artists and artists who lived at least ten years in the South. Exploration of artworks was accomplished by compiling as many artworks as possible per decade, separating each decade by dominant trends in subject matter, and researching to determine political and/or social implications associated with and affecting each image. Historical documents and the findings of other scholars revealed that many artworks carried political overtones reflecting the dominant thought of the white ruling class during the period while the significance and interpretation of other artworks was achieved by studying dominant personal beliefs and social practices.

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28

Kruijssen, Sophie [Verfasser]. "Patterns of reception : The early nineteenth-century German reception of British genre painting in its European context / Sophie Kruijssen." Berlin : epubli, 2016. http://d-nb.info/112017208X/34.

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29

Aranha, Roberta Heinemann de Souza. "Os arcanos maiores do Tarô e a pintura Simbolista do Séc. XIX = um visão interpretativa da correlação arquétipica." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284920.

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Orientador: Elisabeth Bauch Zimmermann
Dissertação (mestrado) - Universidade Estadual de Campionas, Instituto de Artes
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Resumo: Este trabalho relaciona as imagens dos Arcanos Maiores do Tarô com o contexto imagético das Artes Visuais, em especial, evidencia a correlação entre a pintura da escola Simbolista e o Tarô. Também procura desvelar alguns aspectos arquetípicos encontrados através do diálogo simbólico entre essas duas manifestações criativas e artísticas, o que propicia um olhar subjetivo das transformações históricas do final do Século XIX
Abstract: This study relates the images of the Major Arcana of the Tarot imagery with the context of the Visual Arts, in particular, shows the correlation between the Symbolist school of painting and the Tarot. It also seeks to reveal some archetypal aspects found through symbolic dialogue between these two creative and artistic expressions, which provides a subjective look of the historic transformations of the late nineteenth century
Mestrado
Artes Visuais
Mestre em Artes

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30

Day, Marisa. "Conrad Wise Chapman and the Mexican Landscape." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/228.

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Анотація:

This thesis focuses on several paintings of the Mexican landscape produced by Conrad Wise Chapman (1842 – 1910) and held by the Valentine Richmond History Center in Richmond, Virginia. Chapman lived in Mexico from 1865 to 1867 and from 1883 to 1908 (with a few short absences), and during this period, produced a large number of landscapes, which are the subject of this thesis and will be considered as an amalgamation of both nineteenth-century Mexican landscape painting and traveler-art. It is the purpose of this study to demonstrate that Chapman’s artistic style embodies both classical components of landscape painting and characteristics commonly associated with traveler-art. This investigation of Chapman’s Mexican oeuvre provides significant insight into a period of the artist’s career that has long been neglected, and it examines several works of art not yet considered by scholars.

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31

Silaghi, Cristina. "Plenitudes of Painting: Wilhelm Worringer and the Relationshipbetween Abstraction and Representation in European Paintingat the Beginning of the Twentieth Century." Thesis, University of Canterbury. School of Humanities, 2012. http://hdl.handle.net/10092/8499.

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Анотація:

Throughout the twentieth century, the relationship between representation and abstraction has been regarded predominantly in terms of opposition. One of the prominent early twentieth-century defenders of this approach is Wilhelm Worringer (1881-1965), who introduces representation and abstraction as antithetic modes of art-making in Abstraction and Empathy. A Contribution to the Psychology of Style (1908). However, while he distinguishes between abstraction and representation on theoretical grounds, Worringer also observes that, in the history of art, these modes of art-making coexist. The current thesis examines Worringer’s approach to the writing of art history and theory, inquiring into his perspective on the personal responses of viewers and artists to the world, and the manifestations of these responses in art. Abstraction and Empathy addresses issues of empathy, form, and will, in aesthetics and art-making; it discusses and extends the writings of Theodor Lipps, Immanuel Kant, Arthur Schopenhauer, and Alois Riegl. At the beginning of the twentieth century, Worringer’s book attracted much attention: like its sequel, Form in Gothic (1910), it was often associated with the rise to prominence of Expressionism in Germany. Later in the twentieth century, Worringer’s thought came under the scrutiny of Rudolf Arnheim, who criticized Worringer’s emphasis on abstract-representational opposition. Gilles Deleuze and Félix Guattari praised Worringer’s approach to antithesis, yet questioned the terms Worringer proposed as opposites. For Arnheim, Deleuze and Guattari, alternatives to the antithesis between abstraction and representation became visible. Indeed, in Worringer’s time, artists such as Adolf Hildebrand, Ferdinand Hodler, Paul Cézanne, Claude Monet and Wassily Kandinsky underscored the common grounds between representation and abstraction. Exploring Worringer’s Abstraction and Empathy and Form in Gothic, as well as the words and works of Hildebrand, Hodler, Cézanne, Monet and Kandinsky, this thesis aims to highlight abstract-representational interplay as observable in early twentieth-century writing and art-making.

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32

Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.

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Анотація:

This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.

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Mulley, Elizabeth. "Women and children in context : Laura Muntz and representation of maternity." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36781.

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This thesis is concerned with several aspects of the life and work of the Canadian painter Laura Muntz (1860--1930). It examines in particular Muntz's images of women and children both within the cultural themes and ideologies of the period and from the perspective of contemporary twentieth-century theories of gender. The introduction and literature review outline the broad issues surrounding the artist in her time and present a summary of her critical fortunes in Canadian art historical literature. Chapter one provides a discussion of Muntz's life and artistic production between 1860 and 1898, the year in which she returned to Toronto after a decade of study and work in Europe. The following two chapters are conceived as case studies of single paintings, observed in the context of various discourses that surround them. Chapter two analyses Muntz's Madonna and Child in terms of hereditarian theories, eugenics, maternal feminism and the Canadian social purity movement and considers the broader, psychological implications of gender, specifically in the fin-de-siecle associations of femininity and death. Chapter three examines the imagery in Muntz's Protection with reference to North American Symbolist painters and their relationship to the constructs of the feminine ideal. As a whole, the thesis elucidates the complex layers of meaning that Muntz's images of women and children contributed to the popular conceptions of femininity and motherhood current in her time.

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34

Schwarze, Karen. "What in a Good Cause Men May Both Dare and Venture." DigitalCommons@USU, 2016. https://digitalcommons.usu.edu/etd/4742.

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Анотація:

“What in a Good Cause Men May Both Dare and Venture” is a historical short story that features schoolteachers in Munich, Bavaria, during the revolutionary period of 1848. The principle character, Franz Schuler, must decide whether or not to join an illegal teachers union. Simultaneously, he must choose whether or not to stand up against his emotionally abusive father. King Ludwig I, Lola Montez, Karl von Abel, and the revolutionary fervor that bubbled up in several European regions, all function as part of the backdrop of this story. Paired with current struggles educators face in the United States and around the world, “Cause” demonstrates that some social justice issues continually resurface. Every generation, whatever the location, must decide how it will respond to institutionalized injustice—whether in 19th-century Germany or modern America.

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35

Hoffman-Stonebraker, Jennifer C. "The history and use of stained glass windows in ecclesiastical buildings in Indianapolis, Indiana, 1865-1915." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214382.

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This thesis examines stained glass windows in Indianapolis churches built between 1865 and 1915. It studies the trends in Indianapolis stained glass windows and compares them with the national trends in stained glass design. The evidence contained within this thesis indicates that a wide variety of styles popular at the time are represented in Indianapolis churches. The evidence also suggests that some national trends in stained glass did influence the design of the windows in Indianapolis. However, most of the windows in the surviving Indianapolis churches from the period are not typical of the high style trends in church stained glass found elsewhere in the United States.
Department of Architecture

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36

Oliveira, 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.

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Анотація:

Orientador: Luciano Migliaccio
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-08T08:25:10Z (GMT). No. of bitstreams: 1 Oliveira_HelderManueldaSilvade_M.pdf: 4912331 bytes, checksum: 5acaaa32d9e9543d03f7839664c88225 (MD5) Previous issue date: 2007
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

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37

Kruijssen, Sophie C. [Verfasser], and Hubertus [Akademischer Betreuer] Kohle. "Patterns of reception : the early nineteenth-century German reception of British genre painting in its European context / Sophie C. Kruijssen ; Betreuer: Hubertus Kohle." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2016. http://d-nb.info/1122019394/34.

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38

Kruijssen, Sophie C. Verfasser], and Hubertus [Akademischer Betreuer] [Kohle. "Patterns of reception : the early nineteenth-century German reception of British genre painting in its European context / Sophie C. Kruijssen ; Betreuer: Hubertus Kohle." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2016. http://nbn-resolving.de/urn:nbn:de:bvb:19-201692.

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39

Banks, Bryan John. "The metamorphosis of painting : an examination of the changes in the use of oil paint in the 19th century and its replacement in the 20th century by non-art materials and three-dimensional objects." Thesis, University of Liverpool, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433773.

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40

Garboggini, Flavia de Almeida Fabio. "Um album imaginario = Insley Pacheco." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283992.

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Анотація:

Orientador: Iara Lis Franco Schiavinatto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-15T15:11:50Z (GMT). No. of bitstreams: 1 Garboggini_FlaviadeAlmeidaFabio_M.pdf: 21122043 bytes, checksum: 1b8450cc6677d1a5b2f701d714c7be7e (MD5) Previous issue date: 2005
Resumo: Este trabalho apresenta um levantamento da produção do fotógrafo e pintor, Joaquim Insley Pacheco, que atuou no Rio de Janeiro entre 1855 e 1912, sendo um dos responsáveis pela elaboração e divulgação da imagem fotográfica de D. Pedro II. Através das obras de Insley Pacheco, é possível estudar a construção da auto-imagem de um cidadão moderno na corte brasileira, neste período. A dissertação percorre das imagens - fotografias e pinturas - aos anúncios e escritos que fazem referência a Insley Pacheco. Para apresentar as imagens coletadas e levantadas durante a pesquisa, optou-se pela organização de um álbum, no qual diversas categorias de imagens realizadas por este autor, são reunidas
Abstract: This work presents a research on Joaquim Insley Pacheco's work in photography and painting. He was active between 1855 and 1912 in Rio de Janeiro and is responsible for the documentation and distribution of the photographic image of the emperor D Pedro II. Through the works of Insley Pacheco, we can study the development of the self-image of a modern citizen in the Brazilian court. The essay analyzis goes from the images - photographs and paintings - to writings and advertisings that make reference to Insley Pacheco. The presentation of the images found and collected during the research is done in a separate album, organized so that the several categories of images made by this author are grouped
Mestrado
Mestre em Multimeios

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41

Carlisle, Tara McDermott. "Adélaide Labille-Guiard and Elisabeth Vigée-Lebrun: Portraitists in the Age of the French Revolution." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332771/.

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This thesis examines the portraiture of Elisabeth Vigée-Lebrun and Adélaide Labille-Guiard within the context of their time. Analysis of specific portraits in American collections is provided, along with an examination of their careers: early education, Academic Royale membership, Salon exhibitions, and the French Revolution. Discussion includes the artists' opposing stylistic heritages, as well as the influences of their patronage, the French art academy and art criticism. This study finds that Salon critics compared their paintings, but not with the intention of creating a bitter personal and professional rivalry between them as presumed by some twentieth-century art historians. This thesis concludes those critics simply addressed their opposing artistic styles and that no such rivalry existed.

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42

Paes, Luciana Lourenço 1984. "As representações de A morte de Ofélia na obra de Eugène Delacroix." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279594.

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Анотація:

Orientador: Cláudia Valladão de Mattos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-26T09:08:07Z (GMT). No. of bitstreams: 1 Paes_LucianaLourenco_M.pdf: 6480106 bytes, checksum: 311dc7804c3dc4fd9387ec6cc4c1d3bd (MD5) Previous issue date: 2014
Resumo: A presente pesquisa tem como objetivo analisar as representações da morte de Ofélia na obra do pintor francês Eugène Delacroix (1798-1863), pensando sua relação com a tradição visual ligada à representação de Vênus e do suicídio feminino, com outras obras do artista e de seus contemporâneos, com a noção de "teatral" em pintura e com o contexto da pesquisa psiquiátrica na França na primeira metade do séc. XIX
Abstract: The present paper intends to analyze the representations of Ophelia¿s death in the production of the French painter Eugène Delacroix (1798-1863), reflecting on its relationship with the visual tradition of Venus and the feminine suicide, with other works by the artist and his contemporaries, with the notion of "theatrical" in painting and with the context of psychiatric research in the first half of nineteenth-century France
Mestrado
Historia da Arte
Mestra em História

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43

Guillermo, Ramon [Verfasser]. "Das Erlöschen der Natur : European Revolutionary Discourse in 19th Century Tagalog Translation (A study of Jose Rizal's translation of Friedrich Schiller's Wilhelm Tell) / Ramon Guillermo." Hamburg : Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky, 2005. http://d-nb.info/1227846924/34.

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44

Silva, Maria do Carmo Couto da. "Rodolfo Bernardelli, escultor moderno = análise da produção artítica e de sua atuação entre a Monarquia e a República." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280542.

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Анотація:

Orientador: Luciano Migliaccio
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-17T13:16:17Z (GMT). No. of bitstreams: 1 Silva_MariadoCarmoCoutoda_D.pdf: 88905634 bytes, checksum: 83b1638fc2dd25fabb53042dce9158cb (MD5) Previous issue date: 2011
Resumo: Nossa tese de doutorado tem por objetivo contribuir para 0 conhecimento acerca da historia da arte brasileira do final do século XIX e começo do XX, por meio da analise de obras e dos momentos que marcaram a trajetória do escultor Rodolfo Bernardelli (1852-1931). O jovem aluno da Academia Imperial de Belas Artes começa a ganhar destaque no cenário das artes nacionais a partir da sua participação nas Exposições Gerais de Belas Artes, na década de 1870. Apos um período de estudo na Europa, o artista retornou ao Brasil em 1885 e por seus trabalhos realizados no exterior, foi denominado pela critica como artista moderno, recebendo as principais encomendas monumentais da época. Bernardelli foi o principal escultor da primeira década republicana no Brasil e Primeira Republica e atuou como diretor da Escola Nacional de Belas Artes - ENBA, por cerca de 25 anos.
Abstract: Our aim in this thesis is to contribute to the knowledge of the history of Brazilian Art between the end of the 19th century and the beginning of the 20th century through the study of the works and the life moments of the sculptor Rodolfo Bernardelli (1852-1931). The young pupil of the Imperial Academy of Fine Arts begun to gain attention from the national art realm after his participations, along the 187 O's, at General Fine Arts Exhibitions. In 1885, after a period of studies in Europe, the artist returned to Brazil and was then acclaimed as a modern artist by the critics because of the pieces produced abroad. He then received the main monumental commissions of the period. Bernardelli was the main sculptor of Brazil during the first decade of the Republic and was the director of the National School of Fine Arts - ENBA, during almost 25 years.
Doutorado
Historia da Arte
Doutor em História

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45

Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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46

Sridharan, Preetham. ""Agglutinating" a Family: Friedrich Max Müller and the Development of the Turanian Language Family Theory in Nineteenth-Century European Linguistics and Other Human Sciences." PDXScholar, 2018. https://pdxscholar.library.pdx.edu/open_access_etds/4341.

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Анотація:

Some linguists in the nineteenth century argued for the existence of a "Turanian" family of languages in Eastern Europe and Northern Asia, claiming the common descent of a vast range of languages like Hungarian, Finnish, Turkish, Mongol, Manchu, and their relatives and dialects. Of such linguists, Friedrich Max Müller (1823-1900) was an important developer and popularizer of a version of the Turanian theory across Europe, given his influence as a German-born Oxford professor in Victorian England from the 1850s onwards. Although this theory lost ground in academic linguistics from the mid twentieth century, a pan-nationalist movement pushing for the political unity of all Turanians emerged in Hungary and the Ottoman Empire from the Fin-de-siècle era. This thesis focuses on the history of this linguistic theory in the nineteenth century, examining Müller's methodology and assumptions behind his Turanian concept. It argues that, in the comparative-historical trend in linguistics in an age of European imperialism, Müller followed evolutionary narratives of languages based on word morphologies in which his contemporaries rationalized the superiority of "inflectional" Indo-European languages over "agglutinating" Turanian languages. Building on the "Altaic" theory of the earlier Finnish linguist and explorer Matthias Castrén, Müller factored in the more primitive nomadic lifestyle of many peoples speaking agglutinating languages to genealogically group them into the Turanian family. Müller's universalist Christian values gave him a touch of sympathy for all human languages and religions, but he reinforced the hierarchical view of cultures in his other comparative sciences of mythology and religion as well. This picture was challenged in the cultural pessimism of the Fin de siècle with the Pan-Turanists turning East to their nomadic heritage for inspiration.

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47

Silva, Maria do Carmo Couto da. "A obra Cristo e a mulher adultera e a formação italiana do escultor Rodolfo Bernardelli." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281531.

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Анотація:

Orientador: Luciano Migliaccio
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-04T03:41:43Z (GMT). No. of bitstreams: 1 Silva_MariadoCarmoCoutoda_M.pdf: 14705585 bytes, checksum: 9a33d39acb6de8040e84e55c5ed42dad (MD5) Previous issue date: 2005
Resumo: Esta pesquisa enfoca o grupo escultórico monumental Cristo e a mulher adúltera, de Rodolfo Bernardelli (Guadalajara, México, 1852 ¿ Rio de Janeiro RJ, 1931). Realizado em Roma entre 1881 e 1884, é considerado pela crítica como a sua obra-prima. Nosso projeto procurou estabelecer ligações entre essa escultura, outras obras do artista no mesmo período e a arte italiana e francesa contemporânea. Outro objetivo desse projeto foi a análise da importância do estágio italiano do escultor, enquanto pensionista da Academia Imperial de Belas Artes do Rio de Janeiro em Roma, entre 1877 e 1885, para melhor conhecimento acerca da vertente realista a qual o artista se filiou. Além de procurar inserir a produção de Rodolfo Bernardelli no contexto histórico e artístico em que foi realizada, nos últimos anos do Segundo Reinado, a pesquisa buscou a compreensão do papel desses trabalhos na constituição da cultura visual do Brasil daqueles anos
Abstract: This research deals with Rodolfo Bernardelli's (Guadalajara, Mexico, 1852 - Rio de Janeiro, Brazil, 1931) monumental group of sculptures called "Christ and the adulteress". Sculpted in Roma between 1881 and 1884 it is considered by the critics as his master piece. Our project intends to stablish links among this sculpture, some other works of the artist made in the same period and the contemporary French and Italian arts. Another aim of this project was to analize Bernardelli's Italian apprenticeship, sponsored by the Academia Imperial de Belas Artes do Rio de Janeiro in Rome between 1877 and 1885, in order to grasp better understanding of the realistic school to which the artist connected himself. Besides aiming to insert Rodolfo Bernardelli's work on the historical context of its production, that is the last years of the Second Reign, this research tried to understand the role played by his sculptures on the formation of Brazilian's visual culture during those years
Mestrado
Historia da Arte
Mestre em História

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48

Dluzak, Catherine M. "An investigation into the influence of the Tiffany Studios in the ecclesiastical stained glass windows commissioned in Indianapolis, Indiana between 1880-1930." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1118169.

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Анотація:

This thesis investigates the influence of the Tiffany Studios in ecclesiastical stained glass windows of Indianapolis, Indiana. The Tiffany Studios was a leading stained glass manufacturer at the turn of the century and popularized the use of opalescent glass in stained glass commissions. The following study will briefly look at the history of stained glass, discuss the life of Louis Comfort Tiffany, characterize the work of the Tiffany Studios, and evaluate the ecclesiastical stained glass windows located in Center Township commissioned between 1880-1930. The evidence contained within the stained glass summaries suggests that Tiffany Studios did influence the commission of stained glass windows in Indianapolis during the period under review.
Department of Architecture

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49

Weiss, Victoria A. "Food and the Master-Servant Relationship in Eighteenth and Nineteenth-Century Britain." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984138/.

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Анотація:

This thesis serves to highlight the significance of food and diet in the servant problem narrative of eighteenth and nineteenth-century Britain and the role of food in master-servant relationships as a source of conflict. The study also shows how attitudes towards servant labor, wages, and perquisites resulted in food-related theft. Employers customarily provided regular meals, food, drink, or board wages and tea money to their domestic servants in addition to an annual salary, yet food and meals often resulted in contention as evidenced by contemporary criticism and increased calls for legislative wage regulation. Differing expectations of wage components, including food and other perquisites, resulted in ongoing conflict between masters and servants. Existing historical scholarship on the relationship between British domestic servants and their masters or mistresses in context of the servant problem often tends to place focus on themes of gender and sexuality. Considering the role of food as a fundamental necessity in the lives of servants provides a new approach to understanding the servant problem and reveals sources of mistrust and resentment in the master-servant relationship.

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50

Renard, Margot. "Les images du récit national : illustrer l'Histoire de France entre 1814 et 1848." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAH033.

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Henri IV et son panache blanc, Jeanne d’Arc en armure, Vercingétorix vaincu amené devant César… ces représentations liées à l’histoire de France nous sont aujourd’hui familières. Pourtant leur origine est ancienne : elles apparaissent dès la première moitié du XIXe siècle dans les arts visuels et dans l’historiographie, lorsqu’émerge la vogue de l’histoire, et spécialement de l’histoire nationale. Le médium de l’illustration, alors en plein essor, devient un agent efficace de la création et de la diffusion de représentations liées à l’histoire de France. En effet, les éditeurs en quête de formules éditoriales plus séduisantes commencent à intégrer des illustrations dans les ouvrages historiques savants, lorsqu’une telle association semblait auparavant délicate. Cette thèse se propose donc d’étudier les illustrations produites pour les ouvrages historiques parus entre 1814 et 1848. Les ouvrages historiques illustrés s’adressent à un lectorat de plus en plus large, que nous distinguons en termes de classes sociales (populaire, bourgeois) et d’âges (adultes, enfants). Les discours comme les illustrations tentent donc de s’adapter aux attentes et aux dispositions de ces divers lectorats, ce que nous étudierons dans le premier chapitre. Une part de la vogue pour les ouvrages historiques illustrés vient de ce qu’ils font écho aux préoccupations contemporaines : la question de la fondation de la France en tant que nation, en particulier, soulève de vastes débats. Notre deuxième chapitre examinera donc l’illustration de l’historiographie des périodes considérées comme fondatrices, le haut Moyen-Age et la Révolution française. Enfin, si l’historiographie illustrée de cette période apparaît très francocentrée, certains ouvrages viennent éveiller l’intérêt des lecteurs pour une histoire aux échelles « micro » ou macro », intéressée par l’histoire régionale et par l’histoire transnationale (troisième chapitre). Au fil du temps et des publications illustrées émergent donc des schémas iconographiques récurrents, contribuant à enraciner un récit historique iconotextuel, hybride de texte et d’images, dans l’imaginaire national
Which images pop into the minds of Frenchmen when they recall their national history? Henry IV and his white panache, Joan of Arc in her armor, or Vercingétorix and his long hair. Where do these representations come from? How did they develop and with which narrative? This dissertation aims at studying the origins of these images : the spreading of the illustrated historical narrative in France from 1814 to 1848. Indeed, in these years, a true economy of the illustrated history book emerged. These illustrated narratives – these iconotexts – progressively clarified and strengthened a national history in image on which French identity was leaning on. The illustration of history developed interacting with other historical-focused media: theater, panorama, and especially history painting, standing as a model from which to set apart in order to find its own language. Over the course of time and publications, iconotextual patterns established themselves. Therefore, the illustration of history, spread through a larger and larger audience, contributed to the rooting of a national historical narrative into the collective psyche

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Дисертації з теми "Painting, European – 19th century"

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