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Critics have considered the work of Mark Tansey either simplistic or accessible only to viewers with extensive art historical backgrounds. His paintings hang in the best museums of the world, from the Metropolitan Museum of Art to the Museum Moderner Kunst, Vienna. However, an inherent conflict arises. For critics, Tansey must be either accessible or inaccessible, and not both. Yet, Tansey's paintings operate precisely on this edge between the extraordinarily simple and the overwhelmingly complex. To understand the complexities of this dilemma it would be helpful to analyze Tansey's paintings that deal with philosophers and literary critics, which are the most complicated works in his oeuvre. The philosophers included within these paintings are: Roland Barthes, Jean Baudrillard, Harold Bloom, Paul DeMan, Jacques Derrida, Michel Foucault, Geoffrey Hartman, and Jean-Francois Lyotard. All are postmodernists working in opposition to the reductionist rhetoric of mid-twentieth century modernism. This thesis will consider his images of philosophers that include Mont Sainte-Victorie (1987), The Bathers (1987), Derrida Queries DeMan (1990), and Constructing the Grand Canyon (1990) as the confluence and conflict of ideas that deal with words and images.

The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.

Thesis (MA (Hons.)) -- University of Western Sydney, Nepean, 1998. / "A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts" Bibliography : leaves 39-41.

Thesis (Ph.D.) - Carleton University, 2002. / Includes bibliographical references (p. 296-312). Also available in electronic format on the Internet.

Orientador: Maria de Fátima Morethy Couto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T19:05:53Z (GMT). No. of bitstreams: 1 Gutiez_MaximilianoFrancisco_D.pdf: 19234810 bytes, checksum: bcadca28683783c8ac13edef59f58baf (MD5) Previous issue date: 2010 / Resumo: O pintor asturiano Evaristo Valle (1873-1951) participa da primeira fase do modernismo espanhol, período em que convive com os intelectuais e artistas da chamada Geração do 98 que tematizam uma Espanha derrubada: após o esfacelamento do seu império colonial, o abismo entre as classes sociais se exacerba e prepara a eclosão da Guerra Civil (1936-1939). A violência e o medo são uma constante durante toda a primeira metade do século XX na Espanha. Neste contexto, Evaristo Valle compõe uma obra lírica, baseada em contrastes cromáticos, a qual retrata personagens típicos do contexto asturiano, representados em seu cotidiano. Aprofundando o olhar, outras dimensões da obra revelam uma realidade que não pertence àquele recorte, mas traduzem uma alegoria do que a Espanha vive naquele momento. Para trazer à tona esta leitura alegórica da pintura de Valle, recorreu-se à obra e visão de autores que procuram compreender o transcendente, a essência não visível presente naquilo que se mostra, entre eles, José Ortega y Gasset que trata de desvelar a alma de um pintor; e Martin Heidegger que delimita a temática do medo e da angústia como categorias existenciais. Por fim, o conceito de máscara de Gaston Bachelard permitiu compreender o sentido do mascarar-se, que vai além do objeto máscara e do disfarce, e explora a possibilidade do homem de inventar-se de outro modo, revelar outras dimensões de si mesmo. Nesta tese, procurou-se ressaltar uma temática constante ao longo da obra de Evaristo Valle: a máscara e o medo. Para a análise desses aspectos, foram selecionadas duas obras particularmente reveladoras: O porão (1935) e Tipos do mar (1950). A primeira é uma "mascarada" teatral que aborda o tema do medo, e que pode ser lida como as anotações de um pintor na criação de suas personagens, escancarando a penumbra que povoa o seu interior. A segunda é uma de suas últimas pinturas, na qual culmina a força mais lírica do trabalho cromático de Valle, e onde estão retratadas com particular intensidade duas almas, dois tipos, ou seja, a síntese do Homem espanhol / Abstract: Asturian painter Evaristo Valle (1873-1951) was part of the first phase of Spanish modernism. During this period, he circulated among intellectuals and artists of the so-called Generation of 98, whose subject matter was Spain defeated. After losing its colonial empire, the immense gap between social classes aggravated and prepared the outburst of the Spanish Civil War (1936-1939). Violence and fear were constant in Spain during the entire first half of the twentieth century. In this context, Evaristo Valle created a lyrical oeuvre, based on chromatic contrasts, in which he depicted typical Asturian characters in their everyday activities. From a deeper point of view, these works of art present other dimensions and reveal a reality that does not belong to that context, but rather translates an allegory of what Spain was going through at that moment. In order to shed light on this allegoric interpretation of Valle?s painting, this dissertation relied on the works of authors who try to comprehend the transcendent, the non-visible essence of what is shown, such as José Ortega y Gasset who seeks to unveil the painter?s soul, and Martin Heidegger, who identifies the subjects of fear and anxiety as existential categories. Finally, the concept of mask by Gaston Bachelard allowed us to grasp the meaning of masking oneself, which goes beyond the mask as an object of disguise, and explores the possibility of man re-inventing himself differently and revealing other dimensions of himself. In this dissertation, a constant topic of Evaristo Valle?s oeuvre has been highlighted: the mask and fear. In order to analyze these concepts, two particularly revealing works of art have been selected: The basement (1935) and Types of the sea (1950). The former is a theatrical masquerade about fear, which can be interpreted as the notes a painter takes when creating his characters, thereby revealing the dusk that inhabits his inner self. The latter is one of his last paintings, where one can find the strongest lyrical force of Valle?s chromatic work, and in which he portrayed in a particularly intense manner two souls or two types: that is, the synthesis of the Spanish Man / Doutorado / Doutor em Artes

[pt] Se imagem, por sua anfibologia, pode ser tomada como uma proposição dada à contemplação tanto quanto uma operação da consciência, a pintura parece ser um locus privilegiado para observar a intensificação de seus desafios ao pensamento, assim como arena apoteótica de sua neutralização. Este trabalho se empenha em deslindar alguns aspectos do problema das imagens, visando contudo, aclarar a possibilidade de uma reflexão sobre a mímesis na pintura moderna. O trabalho do pintor Édouard Manet (1832-1883) é assim analisado como contra-exemplo da reiteração de uma premência imitativa nas artes visuais – sem que com isso deixe de se enfatizar as profundas conexões estabelecidas entre obra e mundo. Nossa especulação incidirá sobre a formulação do lugar das imagens no pensamento ocidental, a fim de aclarar se algumas proposições iniciais não se apresentam ainda como entraves na reflexão contemporânea. Por não ser de todo corriqueiro, o empreendimento teórico sobre a mímesis, juntado aí a ênfase das imagens como um modo de relação sui generis, permite refletir sobre a ênfase poiética na pintura de Manet, distanciando-a da sombra de ser ela uma mera crônica reiterativa. Esta investigação, portanto, pretende oferecer uma objeção ao mecanicismo imitativo de alguns dos discursos sobre artes visuais. / [en] If image, due to its amphibology, can be taken as a proposition given to contemplation as much as an operation of consciousness, the realm of painting seems to be a privileged locus to observe the intensification of its challenges to thought, as well as an apotheotic arena of its neutralization. This paper endeavors to unravel some aspects of image s surrounding issues, aiming, however, to clarify the possibility of a reflection on mimesis in modern painting. The work of painter Édouard Manet (1832-1883) is thus analyzed as a counter-example of the reiteration of an imitative urge in the visual arts – without neglecting to emphasize the deep connections established between the work and the world. Our speculation will focus on the formulation of images locus in Western thought, in order to clarify whether some initial propositions do not yet present themselves as obstacles in contemporary reflection. As it is not commonplace, the theoretical enterprise on mimesis, along with the emphasis on images as a unique mode of relationship, allows us to reflect on the poietic emphasis in Manet s painting, distancing it from the shadow of being a mere scandalous and repetitive chronicle. This investigation, therefore, intends to offer an objection to the imitative mechanism of some established discourses on visual arts.

Esse estudo trata de seis variações do preto na pintura. O trabalho apresenta telas de Edouard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued e Pierre Soulages. A pesquisa das obras e procedimentos poéticos desses pintores visa a indicar para diversas maneiras como o preto, não mais usado para o sombreado, se transforma em áreas de cor e como esses campos cromáticos atuam nas pinturas. A análise mostra que a cor preta, na qual há variações de tonalidade e saturação, pode ser usada como um meio de tensão cromática na superfície pictórica, como um elemento expressivo, ou para criar uma nova espacialidade para além do plano do quadro. Vale a pena notar que esses usos não são mutuamente exclusivos e, por exemplo, o preto que cria a tensão cromática pode ser expressivo e criar uma nova espacialidade. / This essay deals with six variations of black in painting. Reaserch on the production and poetic procedures by Eduoard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued and Pierre Soulages, indicates several manners where black, contrary to its use as a shadowing component, transforms itself in areas of color. The manner in which the cromatic fields act upon the painting is analised and show that the color black, with its variations in tone and depth, may be used as an element of expession; as a means for chromatic tension over the pictures surface or for the production of a new spaciality beyond its surface. These uses are not mutually exclusive and, as where black creates chromatic tension, it may also be expressive and generate a new spaciality.

L’œuvre de YUN Duseo (1668-1715), peintre lettré ayant vécu lors de la dernière monarchie coréenne, reflète la forte sinisation de la société de l’époque. Cette œuvre est un fruit de la civilisation du « monde chinois », et interroge les principes esthétiques et le statut de la peinture dérivés de la doctrine néo-confucéenne, doctrine elle-même ici associée à des doctrines souvent considérées comme opposées, le taoïsme et le bouddhisme. YUN Duseo invente une peinture « pré-moderne » qui met en valeur de manière nouvelle des figures humaines, les portraits en particulier, et donne une nouvelle forme à des sujets courants de la peinture chinoise, les natures mortes ou les scènes de la vie quotidienne. La peinture de YUN Duseo, influencée aussi bien par un mouvement de retour aux sources de la culture chinoise que par le contact avec la culture européenne, est étudiée principalement à travers le prisme du rapport entre peinture et écriture. / The work of YUN Duseo (1668-1715), a scholar-painter who lived during the last Korean monarchy, reflects the strong sinicization of contemporary Korean society. Indeed, such work is a product of the civilization of the ‘Chinese world’: it questions the aesthetic principles and the status of painting stemming from the Neo-Confucian doctrine, a doctrine itself associated with two often opposed doctrines, Taoism and Buddhism. YUN Duseo invented a ‘pre-modern’ painting that emphasized human figures, and particularly portraits, in a novel way and gave new form to common subjects in Chinese painting, whether still lives or scenes of everyday life.YUN Duseo’s painting, influenced by a return to the sources of Chinese culture as well as by the contact with European culture, is examined here through the prism of the relation between painting and writing.