Дисертації з теми "Saint Art"
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Spangler, Ashley Kay. "Hon's Anatomy: The Heart of Niki de Saint Phalle's Oeuvre." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555591478935112.
Повний текст джерелаStarzyk, Mary Celeste. "Bernini: The Magic Art." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1571831670841782.
Повний текст джерелаDimakis, Dimitrios. "Un honnête homme philosophe, Saint-Evremond : libre pensée et art de vivre." Aix-Marseille 1, 1991. http://www.theses.fr/1991AIX10021.
Повний текст джерелаSaint-evremond is most of all known as a kind epicurien and has often been quoted as the lover of the dutchess de mazarin or as one of the best and faithful friend of ninon de lenclos, the famous spiritual courtesan. This opinion seems past beyond and rather acceptable for the honour of this seventeenth century "honnete homme" who has a share in the litterary history as one of the most pragmatical philosophers, a precurseur of the philosophy of the "siecle des lumieres". Whe shall so devote, on synthesizing his philosophical ideas liking them to his mundane and social behaviour. How did saint-evremond manage to built his own doctrine ? how did he free himself from preconceived knowledge ? what does propund his philosophy which mainly achieves itself in the "man about town" ? dies his behaviour contradict his philosophical teachings or does he enjoy an intellectual balance ? to satisfy to all these questions, it has been believed necessary to start this inquiry by studing saint-evremond's intellectual et philosophical formation before analysing the presonnage in his complete maturity. This saint-evremond's approach, which consists in comparing the different philosophers or personnalities who influenced him, will demonstrate how much he owes to certain ideologies or current ways of thinking. Having reached spiritual elevation, accompliched philosopher, saint-evremond, evolves with elegance and intelligence in the mundaine and cosmopolitan spheres, in
Renoue, Marie. "L'abbatiale Sainte Foy de Conques : de nouveaux vitraux et une nouvelle lumière : une approche sémiotique d'oeuvres d'art." Toulouse 2, 1995. http://www.theses.fr/1995TOU20017.
Повний текст джерелаRaynor, Rebecca Elizabeth. "In the image of Saint Luke : the artist in early Byzantium." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45102/.
Повний текст джерелаDobrynin, Laura. "Bulgarini, Saint Francis, and the Beginning of a Tradition." Ohio University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1149520563.
Повний текст джерелаIonescu, Daniela. "The Romanian Blouse| From Matisse to Queen Marie of Romania and Yves Saint Laurent." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10979593.
Повний текст джерелаBetween 1937 and 1943 the Romanian blouse plays a more pivotal role than previously acknowledged in Matisse's development of a pictorial sign language. Its embroidered oak leaf motif eventually evolves into an abstract symbol of élan vital that animates the artist's late cutouts. By tracking the Romanian blouse, this thesis offers a counter-narrative to the standard monographic study or formal reading of Matisse’s work. We learn the back story of how the blouse becomes a fashion trend set by Queen Marie of Romania who used her celebrity and national dress to promote the welfare of the Romanian people following WWI. We also see how appropriation turns into misappropriation when fashion designer Yves Saint Laurent’s 1981 collection inspired by Matisse’s images of the blouse introduce a broadly defined ethnic fashion into haute couture.
Perez, Abraham B. "Film d'Art and Saint-Saens| Pioneers in creating art through silent film and music." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1572846.
Повний текст джерелаFilm d'Art, the French production company responsible for the development of Henri Lavédan's L'Assassinat du Duc de Guise (1908), demonstrated a forward-thinking vision for film and music. Through their innovations, the company combined many elements of cinematography with new standards for quality productions. This project report will investigate the goals of Film d'Art and its unusually high ambitions, standard music practices in the silent film era, the issues revolving around the instrumentation to Saint-Saëns' score to Henri Lavédan's L'Assassinat de Duc de Guise (1908), and the performance of my arrangement in a graduate recital.
Drapeau, Samuel. "L'église Saint-Michel, la fabrique d'un monument : étude historique, artistique et archéologique de l'église Saint-Michel de Bordeaux." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30041.
Повний текст джерелаThe church of St Michael of Bordeaux has been built in the late Middle Ages, in a very dynamic urban parish. The fluvial and commercial activities of the port generate work for craftsmen and enrich the powerful merchants from the borough of La Rousselle. These merchants are invested in the communal government and finance the building of their parish church. Their pious practices and their activity at the head of the parish fabric and friaries are good examples of the late medieval civic religion. From the end of the fifteenth century, the church receives a college of priest provided by religious benefits. They are in the service of many pious foundations and friaries which are established in the lateral chapels. These chapels are built during the second gothic construction, which makes a big Flamboyant style church with the plan of a basilica. This building follows a first gothic church, conducted at its term during the fourteenth century in accordance to a “halle” architectural volume. The construction of the cathedral of Bordeaux, which introduces the gothic style from the north of France, is an inspiration for St Michael, in the domain of modenature and monumental sculpture. The Flamboyant construction induces the arrival of some master mason, whose work can be identified. That work is influenced by Norman, Parisian and French king’s financed buildings. The Lebas from Saintes give their artistic culture and their technique to the accomplishment of the transept, to the conception of the nave and the isolated bell tower. The low influence of the work of St Michael of Bordeaux on the local artistic creation is balanced with the bell tower, one of the tallest in the French kingdom. Its constructions are well informed thanks to an eleven years’ register for the fabric accounting. It illustrates the work conditions and the necessary equipment for high tall building. One of the masterworks of the church, the north portal, is probably made around 1520 by Imbert Boachon, master mason, sculptor or joiner according to the kind of the work or the town where he works. Nowadays, the silhouette of the church and the bell tower are isolated in the middle of many places and are not totally representative of the medieval made morphology. Some structural frailties oblige the nineteenth century men to rebuild the chevet. The bell tower is renovated by Paul Abadie and the church receives a gothic aesthetic which is influenced by monumental archaeology and the patrimonial restorations doctrines of that period
Radway, Robyn Dora. "In the name of Saint George : ivory saddles from the fifteenth century." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1311.
Повний текст джерелаBachelors
Arts and Humanities
Art
Cucuzzella, Jean Moore. "The Destruction of the Imagery of Saint Thomas Becket." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278647/.
Повний текст джерелаPoccia, Joseph D. "The Transformations of the Saints." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/108.
Повний текст джерелаHeath, Anne Elizabeth. "Architecture, ritual and identity in the Cathedral of Saint-Etienne and the Abbey of Saint-Germain in Auxerre, France /." View online version; access limited to Brown University users, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3174619.
Повний текст джерелаLarocque, Peter J. "Fine intentions, an account of the Owens Art Institution in Saint John, New Brunswick, 1884-1893." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ35551.pdf.
Повний текст джерелаAleman-Fernandez, Carmen Elena. "Corpus Christi and Saint John the Baptist : a history of art in an African-Venezuelan community." Thesis, SOAS, University of London, 1990. http://eprints.soas.ac.uk/29664/.
Повний текст джерелаIndyke, Amy W. "Saint Catherine of Siena permutations of the blood metaphor in written text and painted image /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/993.
Повний текст джерелаOsoline, Nicolas. "L'icône de la descente du Saint Esprit : origine et évolution de ses thèmes constituants." Paris 1, 1985. http://www.theses.fr/1985PA01A048.
Повний текст джерелаBrugger, Laurence. "La façade de Saint-Étienne de Bourges : le Midrash comme fondement du message chrétien /." Poitiers : Université de Poitiers, Centre national de la recherche scientifique, Centre d'études supérieures de civilisation médiévale, 2000. http://catalogue.bnf.fr/ark:/12148/cb371936102.
Повний текст джерелаElliott, Benjamin Wing. "An object under light : the metaphysical strength of light as revealed in Saint Augustine's Confessions." Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23928.
Повний текст джерелаJulien, Pascal. "D'ors et de prieres - art et devotion a saint-sernin de toulouse du 16e au 18e siecles." Toulouse 2, 1996. http://www.theses.fr/1996TOU20030.
Повний текст джерелаSaint-sernin in toulouse was more than a great romanesque church. From the 16th to the 18th century it also ltad a rich artistic activity that can be documented thaules to unpublished sources. The first part of the dissertation presents the liturgy used in the church, its history, and its privilegeed links with toulouse and its town council. The second part chronicles the work undertaken in all the fields of art during three centuries. The third part presents five major projects enhanced by leading artists such as jean baudouy, a sculptor close to the master of biron, or gervais drouet, a disciple of bernini. Besicles giving another vision of saint-sernin, this dissertation takes up the problems of lay and ecclesiastical commissioned work, develops the theme of the relation between art and liturgy, and contributes to the knowledge of the southern artistic milieu in the modern era
Vallançon, François. "Domaine et propriété glose sur Saint Thomasd'Acquin, Somme théologique IIa IIae qu. 66 art. 1 et 2." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37595220f.
Повний текст джерелаGarry, Sandrine. "Le culte de saint Josse au Moyen Âge : histoire et iconographie, des origines au XVe siècle." Paris 8, 2013. http://www.theses.fr/2013PA083910.
Повний текст джерелаSteyaert, Delphine. "La sculpture polychromée néo-gothique en Belgique vue par la Gilde de Saint-Thomas et de Saint-Luc, 1863-1914." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209223.
Повний текст джерелаLes sculpteurs-restaurateurs et les peintres-restaurateurs sélectionnés visent avant tout une présentation jugée digne des sculptures médiévales qui passent entre leurs mains. Ils sont, pour ce faire, imperméables à toute notion d’authenticité. Les aspects religieux primant et dans un contexte de forte pilarisation, ils adoptent sur cette question une position monolithique, alors même que la réflexion au sujet de la restauration de la sculpture polychromée se développe, notamment au sein de la Commission royale des Monuments. Dans les traitements de restauration, les Blanchaert, les Bressers et Jules Helbig font preuve d’un vrai souci archéologique mais rarement de réflexion critique sur l’opportunité ou pas de reconstituer des éléments lacunaires, sur le bien fondé de l’adjonction des attributs, ou sur les pratiques de décapage et de repolychromie. Ce travail doctoral démontre par ailleurs que les nouvelles polychromies néo-gothiques, en particulier celles confectionnées par les Bressers, sont souvent le reflet, voire des copies, des anciennes polychromies quand elles étaient bien conservées.
Les discussions menées au sein de la Gilde ont eu un impact non négligeable sur la question du démembrement des autels baroques et néo-classiques ainsi que sur la création du nouveau mobilier néo-gothique en Belgique.
L’étude d’une série de retables néo-gothiques apporte de nouvelles clefs de lecture sur la conception des programmes iconographiques globaux, la répartition des retables dans l'espace ecclésial, la typologie des œuvres, la conception des compositions et le style adopté pour les groupes sculptés. L'influence de Pugin a pu être montrée, notamment dans le caractère très hiérarchisé donné aux œuvres, et cela à tous les niveaux de la représentation.
Dans son ensemble, ce travail doctoral offre une contribution significative sur l’historicisme et l’histoire des mentalités.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Burns, Ruth Barbara. "Reading race in Western Christian visual culture : tracing a delirium from Renaissance art to the Chris Ofili affair and contemporary religious cinema." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98915.
Повний текст джерелаMeiffret, Laurence. "Les cycles de la vie de Saint Antoine ermite dans l'iconographie française et italienne du XIVème au XVIème siècle : intervention des légendes et influence culturelle dans la constitution de l'image d'un Saint." Paris 1, 1999. http://www.theses.fr/1999PA010561.
Повний текст джерелаKim, Aelee. "D’Yves Saint Laurent (1936-2008) à YSL, l’invention d’un style." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080147.
Повний текст джерелаThe French designer Yves Saint Laurent start as a fashion stylist Haute couture and he redound to his fashion in Art level. However, his fashion is achieved his way to ready to wear and overpower the street fashion. His double culture, born in Algeria but all his career was realized in France, was taken him more advanced over to the wide world and he develop it in a concept of « imaginary travel » : around China, Japan, Russia, U.S.A, Spain, India, and so forth. From his original culture and his great role models, such as Christian Dior, Gabrielle Chanel and Elsa Schiaparelli, Yves Saint Laurent put on women in modern, glamorous looks and compared beauty: femininity in masculinity, classic in modern, exotic in western style, minimalist in glamour, and, casual in chic. Very exotic,very abundant, very original, however, equally very modern fascinating. While all these elements were reflecting his style, several questions come to mind: what is the essence key of his impact and his originality. To define these questions, we frame a hypothesis that the essence of the style Yves Saint Laurent is simplication. This simplication is perfectly identified in his work and compose every key of his creation. We determine also to unit the nature of link between his simplication and his style. And then, this link to what is enable to maintain his position in fashion, in spite of change of fashion industry evolution
Le, Luel Nathalie Barral i. Altet Xavier. "Le portail Saint-Ursin de Bourges recherches sur l'iconographie profane en façade des églises romanes /." Rennes : Université Rennes 2, 2009. http://theses.scdbases.uhb.fr:8000/theseLeLueldiffusable.pdf.
Повний текст джерелаCabañas, Pedro Carmen Cecília. "A arquitetura espontânea de Niki de Saint Phalle : o jardim de tarô /." São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/86999.
Повний текст джерелаResumo: O presente trabalho concentra-se no estudo de um conjunto específico de obras da artista Niki de Saint Phalle, analisados sob o viés da arquitetura espontânea. Esse termo, bastante, desconhecido, é empregado para definir obras quer, pela sua escala e forma podem ser compreendidas como construções arquitetônicas diferenciadas, produzidas por "não-arquitetos". Essa produção é geralmente associada à produção de artistas outsiders , aproximando-se mais da arte e da fantasia. Essas construções vão surgindo gradualmente na obra do artista Niki de Saint Phalle, que são destacadas uma a uma nesta investigação. Para maior embasamento foi feito o levantamento de de outras manifestações da arquitetura espontânea, compreendendo o trabalho construtivo de artistas e arquitetos espontâneos. Esses esforços criativos podem ser encontrados em várias partes do mundo, principalmente na Europa e América. A segunda parte da dissertação é dedicada inteiramente ao Jardim de Tarô, parque de esculturas projetado e construído por Niki, na Toscana, Itália. O jardim recebeu a influência do Park Guell do arquiteto Gaudi e é construido por esculturas monumentais que representam as cartas do tarô. A escolha do foco da segunda parte da dissertação neste jardim justifica-se por ele concentrar a maior quantidade de exemplos da arquitetura e espontânea na obra da artista.
Abstract: The present work is concentrated on the study of a set specify of works of the artist Niki de Saint Phalle, analised under the slant of the spontaneous architecture. This term quite unknown, is employed in order that define works that , by the scale and form there can be understood how differential architectural constructions produced by "non-architets" This producation is generally associate to the outsider's artist production bringing near more near more than the art and the fantasy. These constructions are appearing gradually in the work of the artist Niki de Saint Phalle, that I detach one to one in this investigation. For bigger foundation, I do the lifting of other demonstrations of the spontaneous architecture, understanding the constructive work of these artists and spontaneous architects. These creative efforts can be found in several parts of the world, mainly in Europe and America. The second part of the work is dedicated completely to the Tarot Garden, park of sculptures projected and built bu Niki, in Tuscay, Italy. The garden received great influence of the Park Guell of the architect Gaudi, and it is constituted by monumental sculputures represented by letters of the tarot. I chose to focus the second part of the dissertation on this garden because it concentrats the biggest quantity of examples of the spontaneous architecture in the work of the artist.
Mestre
Kordinak, Jacqueline T. "Saint Peter's Needle: The Vatican Obelisk and Its Importance in Renaissance Rome." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1375191561.
Повний текст джерелаDallaire, Carol. "La place du spécialiste dans l'enseignement des arts plastiques au primaire et au secondaire dans les écoles du Saguenay-Lac-Saint-Jean / : mémoire présenté à l'Université du Québec à Chicoutimi comme exigence partielle de la maîtrise en arts plastiques option éducation par Carol Dallaire." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1990. http://theses.uqac.ca.
Повний текст джерелаProgramme de maitrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
Davies, Elaine Fitzback. "I came to guard you : the use of Marian icons for protection." Thesis, University of Wales Trinity Saint David, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683026.
Повний текст джерелаRemy-Lacheny, Ingrid. "Etude des « Frères de Saint-Sérapion » d'E.T.A. Hoffmann : discours esthétiques et scientifiques." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030126/document.
Повний текст джерелаUsing the aesthetic theories of the Schlegel brothers, Novalis and Schelling, this thesis examines aesthetic and scientific discourse as it appears in E.T.A. Hoffmann’s The Serapion Brethren and considers to what extent Hoffmann appropriates early Romantic thought or distances himself from it. Faced with the philistinism and maliciousness of others and with his own interior demons, the Serapiontic artist pursues both a social and psychic ideal. Dreamers, madmen, children or those who are under the influence of magnetidm, Hoffmann’s characters are all seeking recognition and an identity. Polymorphous and heterogeneous, centered on artistic interaction and on the work of creation and reception, The Serapion Brethren is a type of ‘total work of art’ before its time in which the sciences and the arts come together
Vagne, Marie-Pierre. "Les chemins de l'effacement : vers une métaphore de la diffraction, sur le thème de l'Apocalypse de Saint-Jean." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010586/document.
Повний текст джерелаThis work sets up a fading process in figuration with the use of light but also white as matter. Form becomes phantasmal appears as filigree and disappears in the confines of representation. This research is deployed via a plastic art installation which invites the spectator to experience an in-depth interpretation. Figures taken from the Apocalypse of Saint John are illuminated by diffraction. I thus used this mythical text as a support for the project like Jacques Derrida's parergon, where he used it as a framework and cartouche to define both a place and a pathway which leads to a revelation. It is the blotted out painted drawing reverting to whiteness, which serves this purpose in order to interpret the fragility of human condition. The representation which fades reveals an uncertain vision expressed in a point by point. The end result of this quest born from a reading of the scripture and the artist's gesture is ultimately, a face -a face expressing humanity, alternating between the multiple dualities of existence. This work is a pathway towards the fading withdrawal of an image. It aims to be this side which encounters the beyond
Van, Eck Steve. "Neighborhood Economic Impacts of Contemporary Art Centers." PDXScholar, 2018. https://pdxscholar.library.pdx.edu/open_access_etds/4435.
Повний текст джерелаTaheri, Alireza. "L'évolution des formes de dragons selon l'Apocalypse de Saint Jean et la légende de "Saint Georges et le dragon" : dans la peinture du Moyen âge, de la Renaissance et dans l'art contemporain en Europe." Paris 1, 2005. http://www.theses.fr/2005PA010595.
Повний текст джерелаKeogh, Kristina M. "The Presentation of Incorruptibility: The Praesentia of the Female Saint." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3664.
Повний текст джерелаBourget, Charles. "Saint-Rémy de Troyes et l'architecture paroissiale flamboyante en Champagne méridionale (1400-1550)." Paris 4, 1999. http://www.theses.fr/1998PA040126.
Повний текст джерелаMarval, Mary. "Johannes Vermeer's allegory of faith reconsidered." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64091.
Повний текст джерелаPierre, Marie-liesse. "Un atelier jurassien au temps des Lumières, les Rosset : sculpteurs, ivoiriers et peintres comtois à Saint-Claude dans le Jura au XVIII siècle." Phd thesis, Université de Strasbourg, 2013. http://tel.archives-ouvertes.fr/tel-01067474.
Повний текст джерелаJousselme, Gwladys. "Enseignement, pratique de l’art et rôle du musée en Russie : le cas du Musée russe de Saint-Pétersbourg." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040117.
Повний текст джерелаThe museum pedagogy is a discipline on the introduction of art and museum resources in the education system. The Russian experience in this regard is particularliar and deserves further study as it is proposed in this thesis. By focusing on the study of the Russian Museum, museum pioneer of museum pedagogy, we find evidence that the museum is an institution in Russia extremely dynamic with original innovations. These advances are the result of a strong tradition rooted in the museum world since the Soviet period that the museum is a major place for education. Today, the Russian museum education has evolved and is no longer linked with propaganda. The Russian Museum, one of the largest museums in Russia, has theorized and developed museum pedagogy at a level far unequaled in the world. The Russian Museum has over twenty years offered the Russian education humanization of education through art. Its educational program "Hello museum! "applied in schools, from childrengarden to high school, gives children, trough the study of Russian and world art, cultural foundations necessary for a harmonious understanding of the surrounding world, coupled with the awakening of national consciousness, a beloved theme for Russians. The analysis of the experience of the Russian Museum in the field of museum pedagogy is to show, first the positive impact of art on the development of the child and secondly the multiple applications of art education for the development of interdisciplinarity: teaching of mathematics, chemistry, physics and foreign languages through the medium of art
Voyer, Cécile. "Faire le ciel sur la terre : les images hagiographiques et le décor peint de Saint-Eutrope aux Salles-Lavauguyon : XIIe siècle /." Turnhout : Brepols, 2008. http://catalogue.bnf.fr/ark:/12148/cb413246543.
Повний текст джерелаRich, Erin Marie. "Accent patterns in text and music in the songs of Amy Beach, Richard Strauss, and Camille Saint-Saëns." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3173.
Повний текст джерелаDe, La Haye Régis. "Apogée de Moissac : l'abbaye clunisienne Saint-Pierre de Moissac à l'époque de la construction de son cloître et de son grand portail /." Maastricht ; Moissac : R. De La Haye, 1995. http://catalogue.bnf.fr/ark:/12148/cb361798006.
Повний текст джерелаClementz, Elisabeth. "Les Antonins d'Issenheim : essor et dérive d'une vocation hospitalière à la lumière du temporel /." Strasbourg (5 rue Fischart, 67000) : Société savante d'Alsace, 1998. http://catalogue.bnf.fr/ark:/12148/cb37034156t.
Повний текст джерелаMarie, Tiphaine. "Tradition créative : un oxymore ? Les cristalleries Saint-Louis, Baccarat et Daum." Electronic Thesis or Diss., Université de Lorraine, 2019. http://www.theses.fr/2019LORR0313.
Повний текст джерелаThis research aims at understanding the creative process within glass manufacturing. Studying the collaborations between artists and designers, we understand how these traditional companies (Saint-Louis, Baccarat and Daum) have been able to stand the test of time. Their artistic and aesthetic commitments are to be read and analysed to take hold of the ongoing process
Tevesz, Maria. "L'arc dans les constructions haut-médiévales des régions nord occidentales du pourtour méditerranéen : étude d'historiographie et d'histoire de l'architecture." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30062/document.
Повний текст джерелаThis study focusses, in façade and in plan, on the horseshoe arch, the hallmark of architecture in the first flowering of the Middle Ages, and on the recessed arch on piers, its more or less unrecognised contemporary. The geographical extent of the occurrence of these two types of arch has been defined by the periodic enlargement of the area where they are really concentrated: Spanish Catalonia and French Languedoc-Roussillon. Applied often to dating a building, and becoming involved as a result in a stylistic epistemology, as well as being the targets of the entrenched dogmas of a vast historiography, these pieces of evidence are here studied on the ground in their architectural context so as to juxtapose fieldwork with the theories on their deployment developed a century ago. Given the spread of developed mediaeval arches, this work endeavours to place their corpus in a wider general study which clearly cannot depend on an exhaustive survey, but which is able to suggest, nevertheless, that the realm of the Moorish arch transcends the territorial and chronological limits of Visigothic, Mozarabic, Carolingian or Islamic culture. The origin of the recessed arch on its piers, for which we propose the term «mushroom shape» displays an undeniable origin in antiquity. Its diffusion in time and space coincides with the horse-shoe throughout the vast Mediterranean ambit. The corpus of the area studied brings together 98 buildings which preserve in their structure the Moorish arch and/or the recessed arch on piers. An analysis of arch assembly, incorporated in the overall study of a building’s construction, confirms that the Moorish design or that of the recessed arch on piers concerned not only arches but was inherent in a general building process observable in the raising of the vault, or of any transverse arches or in openings, doorways or windows. The endurance of these same building procedures for centuries, for minor works such as small country chapels, as for the great abbey church of Saint- Michel de Cuxa, testifies to a conservative art associated with basic techniques
Siomkos, Nikolaos. "L' église Saint-Etienne à Kastoria : étude des différentes phases du décor peint (Xe - XIVe siècles)." Paris 1, 2002. http://www.theses.fr/2002PA010566.
Повний текст джерелаCabañas, Pedro Carmen Cecília [UNESP]. "A arquitetura espontânea de Niki de Saint Phalle: o jardim de tarô." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86999.
Повний текст джерелаUniversidade Estadual Paulista (UNESP)
O presente trabalho concentra-se no estudo de um conjunto específico de obras da artista Niki de Saint Phalle, analisados sob o viés da arquitetura espontânea. Esse termo, bastante, desconhecido, é empregado para definir obras quer, pela sua escala e forma podem ser compreendidas como construções arquitetônicas diferenciadas, produzidas por “não-arquitetos”. Essa produção é geralmente associada à produção de artistas outsiders , aproximando-se mais da arte e da fantasia. Essas construções vão surgindo gradualmente na obra do artista Niki de Saint Phalle, que são destacadas uma a uma nesta investigação. Para maior embasamento foi feito o levantamento de de outras manifestações da arquitetura espontânea, compreendendo o trabalho construtivo de artistas e arquitetos espontâneos. Esses esforços criativos podem ser encontrados em várias partes do mundo, principalmente na Europa e América. A segunda parte da dissertação é dedicada inteiramente ao Jardim de Tarô, parque de esculturas projetado e construído por Niki, na Toscana, Itália. O jardim recebeu a influência do Park Guell do arquiteto Gaudi e é construido por esculturas monumentais que representam as cartas do tarô. A escolha do foco da segunda parte da dissertação neste jardim justifica-se por ele concentrar a maior quantidade de exemplos da arquitetura e espontânea na obra da artista.
The present work is concentrated on the study of a set specify of works of the artist Niki de Saint Phalle, analised under the slant of the spontaneous architecture. This term quite unknown, is employed in order that define works that , by the scale and form there can be understood how differential architectural constructions produced by non-architets This producation is generally associate to the outsider's artist production bringing near more near more than the art and the fantasy. These constructions are appearing gradually in the work of the artist Niki de Saint Phalle, that I detach one to one in this investigation. For bigger foundation, I do the lifting of other demonstrations of the spontaneous architecture, understanding the constructive work of these artists and spontaneous architects. These creative efforts can be found in several parts of the world, mainly in Europe and America. The second part of the work is dedicated completely to the Tarot Garden, park of sculptures projected and built bu Niki, in Tuscay, Italy. The garden received great influence of the Park Guell of the architect Gaudi, and it is constituted by monumental sculputures represented by letters of the tarot. I chose to focus the second part of the dissertation on this garden because it concentrats the biggest quantity of examples of the spontaneous architecture in the work of the artist.
Santos, Selene Candian dos. "Arte retórica em Ordinatio, de Consecratione e de Administratione de Suger de Saint-Denis." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-20012015-170252/.
Повний текст джерелаIn the second quarter of the twelfth century, Suger of Saint-Denis, a Cluniac monk, wrote three texts in which he mentioned and described the renovation he carried out in the abbey church of Saint-Denis in his prelacy. That renovation was later identified by History of Art as the origin of Gothic architecture. Such texts, known as Ordinatio, De Consecratione, and De Administratione, published and translated in several editions, have thus been analyzed by some art historians, namely Erwin Panofsky, Peter Kidson, Jean-Claude Bonne, and Conrad Rudolph, based on theoretical frameworks related to the arts, architecture, aesthetics, and psychology. Nevertheless, although many scholars, such as Rita Copeland and Suzanne Reynolds, have been asserting the importance of rhetoric in the twelfth century, the rhetorical character of these texts has not yet been thoroughly examined by scholars. Investigation into the genres in which the texts were written, into the parts of discourse, and into the rhetorical techniques applied to the texts may reveal that some passages that have traditionally been taken at face value or as Suger\'s empirical experience and opinion may be thought of as non-literal-minded and discursive stances. Therefore, the purpose of this research project is to contribute to the scholarship on Suger\'s writings by recognizing and scrutinizing their rhetorical features
Hamon, Étienne. "Un chantier flamboyant et son rayonnement, Gisors et les églises du Vexin français /." Besançon : Paris : Presses universitaires de Franche-Comté ; diff. Picard, 2008. http://catalogue.bnf.fr/ark:/12148/cb41416423q.
Повний текст джерелаEn appendice, choix de documents. Bibliogr. p. 627-637. Notes bibliogr. Index.