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Статті в журналах з теми "Tableaux de peintures":
Colas-Blaise, Marion. "La forme de vie et le motif : comment penser la genealogie des tableaux ?" Gragoatá 28, no. 62 (November 14, 2023): e58621. http://dx.doi.org/10.22409/gragoata.v28i62.58621.fr.
Marquaille, Léonie. "Sensibilité catholique et tableaux sacrés dans les Provinces-Unies au XVIIe siècle." Revue de Théologie et de Philosophie 154, no. 3 (October 25, 2022): 329–44. http://dx.doi.org/10.47421/rthph154_3_329-344.
Martens, Didier, and Alexandre Dimov. "Un imitateur moderne des Primitifs flamands établi en Espagne: le Faussaire de Valls Marín." BSAA arte, no. 84 (November 29, 2018): 353–78. http://dx.doi.org/10.24197/bsaaa.84.2018.353-378.
Pinon, Jean. "Les ennemis de la forêt vus par les peintres." Revue forestière française 75, no. 1 (March 11, 2024): 69–80. http://dx.doi.org/10.20870/revforfr.2024.7995.
Trudel, Éric. "Spectres de la peinture." Études françaises 42, no. 2 (October 25, 2006): 61–83. http://dx.doi.org/10.7202/013864ar.
Liatard, Antonin. "Les Autels à tableaux multiples en Allemagne, dans les Pays-Bas espagnols, en France et aux Provinces-Unies au xvii e siècle." Dix-septième siècle 302, no. 1 (January 29, 2024): 29–54. http://dx.doi.org/10.3917/dss.241.0029.
Štěpánek, Pavel. "Pinturas y esculturas góticas españolas en la Galería Nacional de Praga." Anuario de Estudios Medievales 20, no. 1 (April 2, 2020): 349. http://dx.doi.org/10.3989/aem.1990.v20.1153.
Vanlathem, Marie-Paule. "Cléopâtre dans le miroir de la peinture du XIXe siècle." Trabajos de Egiptología. Papers on Ancien Egypt 1695-4750 (2005): 129–46. http://dx.doi.org/10.25145/j.tde.2005.04.06.
Ouellet, Pierre-Olivier. "Ornements, tableaux et vases sacrés : libéralités des seigneurs en faveur des lieux de culte ruraux en Nouvelle-France." Articles 78, no. 1 (April 2, 2012): 25–41. http://dx.doi.org/10.7202/1008561ar.
Chan, Tina. "Cœur d’animal : l’emploi des animaux pour établir le portrait de l’animalité chez les humains dans les œuvres littéraires et picturales à travers les âges." Voix Plurielles 14, no. 1 (May 5, 2017): 29–41. http://dx.doi.org/10.26522/vp.v14i1.1544.
Дисертації з теми "Tableaux de peintures":
Sonoda, Naoko. "Identification des matériaux synthétiques dans les peintures fines pour artistes par pyrolyse couplée avec la chromatographie en phase gazeuse : application à l'étude de quelques tableaux d'art contemporain." Paris 1, 1987. http://www.theses.fr/1987PA010573.
Sonoda, Naoko. "Identification des matériaux synthétiques dans les peintures fines pour artistes par pyrolyse couplée avec la chromatographie en phase gazeuse application à l'étude de quelques tableaux d'art contemporain /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376100268.
Ben, Gamra Siwar. "Contribution à la mise en place de réseaux profonds pour l'étude de tableaux par le biais de l'explicabilité : Application au style Tenebrisme ("clair-obscur")." Electronic Thesis or Diss., Littoral, 2023. http://www.theses.fr/2023DUNK0695.
Face detection from Tenebrism paintings is of growing interest to art historians and researchers in order to estimate the illuminant location, and thereby answer several technical questions. Deep learning is gaining increasing interest due to is high performance capabilities. An optimization of Faster Region based Convolutional Neural Network has demonstrated its ability to effectively address challenges and deliver promising face detection results from Tenebrism paintings. However, deep neural networks are often characterized as "black box" because of the inherent complexity and non-linearity of their architectures. To tackle these issues, eXplainable Artificial Intelligence (XAI) is becoming an active researcj area to understand deep models. So, we propose a novel iterative XAI method based on guided perturbations to explain model's application
Aksoy, Neveser. "Tableau-fenêtre/fenêtre-tableau." Paris 1, 1990. http://www.theses.fr/1990PA010600.
Generally painters have been interested in the sense of the open window. They have often shown of windows opening from the outside. Accepting the window as a closure, it treat it in a way that goes against its habitual and traditional significance. Sinse 1980, the shut window has been the main theme of my work. For a long time, houses awaiting to be demolished have made up a daily part of cityscapes. I am fascinated by delapidated buildings, by their state of abandon, their blocked windows and condemned doors that are to be knocked down by awaiting buldozers. When the windows blinded by their misery representa loss of communication. When the window is hidden by material, when it is garnished with bars or blocked with bricks, the window does not disappear : it loses its function and becomes a mere object again, an element of resistance. Each of these windows is an obstacle and a limit. There is no beyond. The window therefore becomes a place of separation. The window "as an object of use" is transformed into an "object of emotion" provoking a sentimental and symbolic response. The representation of shut windows symbolises confinement, imprisonment, anxiety, mystery, anguish, sadness, misery, enclosure
Lafargue, Bernard. "Le tableau, métaphysique de la peinture : I- Narcisse, télos de la peinture antique." Nice, 1986. http://www.theses.fr/1986NICE2020.
Is the frame only a contingent parergon of the painted surface, and the painting on easel of the quattrocento the mere reflection of the rising power of the merchant class, or else, on the opposite, the opposite, the symbolical and metaphysical shape in which and through which painting, finally coming into being as a complete art, fulfils and unveils its true essence? What then is the nature of painting, the centrifugal and centripetal force that gives life and magnetizes all pictorial poiesis? Through an analysis of the laws of the development of painting, from the tombs of ancien aegypt to the roman-aegyptian portraits from fayoum, this first volume will show that painting is the most adequatte art to express the feeling of spiritual individuality. Colouring will always undermine the rules of the arts that try to jugulate it, announce political upheavals or new visions of the world, as if magnetized by the paradigmatic shape of the painting that will come to life during the peloponnesian war, which exacerbates the individualism praised by the sophists, through the brushes of the greek painters of the second half of the fifth century before christ. Plato, who thinks of painting in terms of the philosophy of protagoras, is the first to see in it the katoptron of individuality, and therefore bans from the city both Doxocalos painter and sophist Doxomimetos. What then does the painter paint? What visions from painter, model and spectator are here patiently interwoven? Therefore shouldn't one see in the portrait, or, more precisely, in self portrait, the core of painting and in the narcissus in pompei and in ovide the telos of all ancient painting?
Lafargue, Bernard. "Le Tableau, métaphysique de la peinture I-Narcisse, Télos de la peinture antique." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37598853s.
Lacroix, Laurier. "Le fonds de tableaux Desjardins : nature et influence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ36285.pdf.
Bonfait, Olivier. "Les tableaux et les pinceaux : la naissance de l'école bolonaise (1680-1730)." Paris 4, 1992. http://www.theses.fr/1992PA040095.
The gap between Malvasia's Felsina pittrice (1678) and Zanotti's Storia dell'accademia Clementina reveals the evolution from an artistic center, where different personalities coexisted, to a single, unified school. The image and the painting, much appreciated by scholars and diffused by dealers, are substituted by an object of new value, the picture itself, gathered massively by aristocracy. The ideal of a collection, now a symbol of nobility, takes form in historical and Bolognese paintings. The XVIII c. Gallery sees the triumph of the school over the art of painting, and of the picture itself over the artist. There is a new erwastungs horizon that substitutes the demand for a same text and a same rhetoric to an extensive view. Noble patrons control the art world in 1730s, but, by the end of the century, the aristocracy adopts a European artistic pantheon and forms its collections having the idea of museum in mind. A detailed study of Franceschini's career, on the basis of his account book, inventory and biographies shows that honor, bon gout and virtue dominate the Bolognese artistic creation of the first half of the XVIII c. This production is now territorialized, its clients almost exclusively aristocrats, organized in networks that explained the importance of artistic conventions. All these conditions were unknown to Reni and Guercino. The law of the contract and the conformity of the product, the universal criteria for bon gout and the foundation of an academy, that sets the rules of the market, are the principal features of this homogenization of different manners
Péruisset-Fache, Nicole. "Le titre de tableau." Rouen, 1994. http://www.theses.fr/1995ROUEL212.
A label given to the work of art, the title of a painting is governed by the rules of a language sub-code. Yet, this semiotic system is articulated to a picture system, both systems functioning within the consumer society. They therefore concur to build a discourse strategy aiming at establishing the social legitimacy of the artist and his her "superdifference"
Venturi, Riccardo. "Mark Rothko et la question du tableau moderniste." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100198.
Mark Rothko and the question of modernist painting is a critical reassessment of American painter Mark Rothko’s (1903-1970) written and pictorial output, in the historical and theoretical framework of Modernism. The material is composed of three main parts which correspond to a different aspect of painting: the window-painting, or the constitution of the canvas as object and pictorial surface; the membrane-painting, or the easel canvas as the modernist predominant medium ; the screen-painting, or painting beyond modernist easel canvas. The first part entails the way painting has been conceived during the Renaissance, as a surface regulated by perspective in accord to the albertian model of a window open onto the world. The second part corresponds to the affirmation of painting and of the easel canvas as an autonomous medium in the modernist theory of 1940s and 1950s. The third part is a critical evaluation of Greenberg’s modernism as a model to understand Rothko’s work and a consideration of the cinematographic experience – which Rothko elaborated in his early works as well as in his panting in series – as a device specific to the aesthetic of modernism and of mass culture
Книги з теми "Tableaux de peintures":
Hotel Drouot. Tableaux XIXe et XXe siècles, estampes, dessins, aquarelles, peintures. Paris: Hôtel Drouot, 2001.
(Firm), Drouot-Richelieu. Tableaux modernes et jeune création comptemporaine [contemporaine]: Peintures, dessins, sculptures. Paris: Delavenne-Lafarge, 2002.
(Firm), Drouot-Richelieu. Tableaux des XIXème et XXème siècles: Important ensemble de peintures et dessins par Pierre Ambrogiani. Paris: Chayette & Cheval, 2002.
(Firm), Drouot-Richelieu. Collection Pierre Miquel: Tableaux et dessins anciens, les précurseurs du paysage; Le paysage français au XIXe, Le Courant Romantique; Paul Huet, peintures, dessins, aquarelles et estampes; sculptures, dessins et peintures du XIXe; gravures, sculptures, dessins et peintures des XIXe et XXe. Paris: Rossini, 2004.
Béland, Mario, Daniel Drouin, and Guillaume Kazerouni. Le fabuleux destin des tableaux des abbés Desjardins: Peintures des XVIIe et XVIIIe siècles des musées et églises du Québec. Gand: Snoeck, 2017.
Danielle, Véron, Droguet Vincent, Réunion des musées nationaux (France), and Musée national du Château de Fontainebleau., eds. Peintures pour un château: Cinquante tableaux (XVIe-XIXe siècle) des collections du château de Fontainebleau : [exposition] Musée national du château de Fontainebleau, 15 décembre 1998-15 mars 1999. Paris: Réunion des musées nationaux, 1998.
Régnier, Michel. Seize tableaux du mont Sakurajima. Arles: P. Picquier, 2012.
Philostratus. Les images ou tableaux de platte-peinture. Paris: Honoré Champion, 1995.
Philostratus. Les images ou tableaux de platte-peinture. Paris: Champion, 1995.
Jacobins, Musée des. Tableaux, la peinture n'est pas un genre. Morlaix: Musée des Jacobins, 1999.
Частини книг з теми "Tableaux de peintures":
Jouves-Hann, Barbara. "L’acquisition des peintures ou la formation du jugement." In Amateurs et restaurateurs de tableaux à Paris (1789-1870), 79–120. Paris: Éditions de la Sorbonne, 2024. http://dx.doi.org/10.4000/11x08.
Jouves-Hann, Barbara. "Conclusion. L’amateur du xixe siècle et l’expertise de la peinture." In Amateurs et restaurateurs de tableaux à Paris (1789-1870), 287–91. Paris: Éditions de la Sorbonne, 2024. http://dx.doi.org/10.4000/11x0h.
"LES TABLEAUX D’ÉLÉMENTS." In Les peintures sur vases de Nagada I - Nagada II, 149–88. Leuven University Press, 2009. http://dx.doi.org/10.2307/j.ctt9qdz5x.9.
Vouilloux, Bernard. "La peinture à l’âge de l’écrivain." In Tableaux d’auteurs, 5–13. Presses universitaires de Vincennes, 2004. http://dx.doi.org/10.4000/books.puv.6223.
Vouilloux, Bernard. "Manifester la peinture André Breton dans l’image." In Tableaux d’auteurs, 120–75. Presses universitaires de Vincennes, 2004. http://dx.doi.org/10.4000/books.puv.6238.
Arizmendi, Pascale. "Une peinture contrastée de la société parisienne." In « Nicolas Le Floch », le Tableau de Paris de Jean-François Parot, 111–42. Presses universitaires de Perpignan, 2010. http://dx.doi.org/10.4000/books.pupvd.354.
Lucbert, Françoise. "La Jeanne d’Arc de La Fresnaye : peinture religieuse, fresque historique ou tableau cubiste ?" In La foi dans le siècle, 85–96. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.122145.
Тези доповідей конференцій з теми "Tableaux de peintures":
Corrêa, Felipe da Silva. "Williem Roelofs e a cor na paisagem novecentista holandesa." In Encontro da História da Arte. Universidade Estadual de Campinas, 2015. http://dx.doi.org/10.20396/eha.11.2015.4290.
Beyaert-Geslin, Anne. "Paysage et catégories topologiques." In Paysages & valeurs : de la représentation à la simulation. Limoges: Université de Limoges, 2008. http://dx.doi.org/10.25965/as.1236.
Fiers, William. "Perspective and the geometric control of the pictorial act." In Arts du faire : production et expertise. Limoges: Université de Limoges, 2009. http://dx.doi.org/10.25965/as.3220.
Démoris, René. "Du texte au tableau : les avatars du lisible de Le Brun à Greuze." In Littérature et arts à l'âge classique 1 : Littérature et peinture au XVIIIe s., autour des Salons de Diderot, par R. Démoris. Fabula, 2007. http://dx.doi.org/10.58282/colloques.608.