La investigación que sigue aborda el problema del modelo y su lugar en la producción artística moderna. Se localiza, particularmente, en el momento en que la pintura se hace partícipe de la crítica de la representación y su relación con el mundo visible se vuelve marcadamente problemática. Esto es, fines del siglo XIX y principios del XX. Esta tesis toma por motivo un momento crucial en ese contexto histórico como es la obra de Cézanne y la lectura interpretativa de la misma a la luz del problema del modelo. En este sentido lo que pone a operar es la noción de modelo y su rol, tanto en la producción pictórica de Cézanne, como en las interpretaciones que la toman como referente para producir a su vez un modelo de comprensión de la pintura moderna, que se habría desarrollado a partir de las fórmulas cezanneanas.

A Dissertation Submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts. / This dissertation examines Paul Cezanne's still-lifes and proposes that the interpretation of meaning in these works depends upon the analysis of their stylistic elements. In Chapter 1 it is argued that the relationship between meaning and interpretation in the discipline of Art History is a complex one. An examination of the recent theoretical literature offers valuable insights into the ways in which art historians have assessed this relationship and the ramifications not only for the discipline, but for the Interpretation of Cezanne's still-lifes. The different ways in which scholars have interpreted Cezanne's oeuvre (particularly in relation to formalist approaches) are examined in the overview of the Cezanne literature in Chapter II. It is suggested that the existing body of interpretations in the literature forms an important part of a work's meaning and that therefore, the meaning of Cezanne's still-lifes should not be considered in an historical vacuum. furthermore, it is argued that the formalist interpretation of Cezanne's still-lifes warrants reevaluation, In Chapter III selected still-lifes are analyzed. The traditional art: historical dichotomy, reflected in the Cezanne literature, between 'form' and 'content', is challenged, The genre of still-life is contextualized in relation to Cezanne's other genres to substantiate the notion of a 'drama of style' evident in the still-lifes. It is argued that a stylistic approach to the still-lifes reveals both the importance of style in the interpretation of meaning in the still-lifes and the notion of artistic process evident in these works. / Andrew Chakane 2018

During the last half of the nineteenth century, a remarkable number of European artists were influenced by Japanese art and culture, a trend which has been labelled "Japonisme." Among the major Post-Impressionist artists, Paul Cezanne (1839-1906) alone has been viewed as untouched by this influence, largely because of the strong three-dimensional quality of his art. This study provides a reassessment of the issue of Cezanne and "Japonisme" by concentrating on the flat, two-dimensional aspect of his art. The development of Cezanne's conceptualized and schematized treatment of the Mont Sainte-Victoire theme is considered both formally and iconographically in relation to the image of Mt. Fuji by the influential Japanese printmaker, Katsushika Hokusai (1760-1849). Illustrating that Cezanne's path toward Modernism in painting may have been influenced by the Japanese print, and particularly the art of Hokusai, this study leads to a more profound understanding of Cezanne's development and the ideographic language of his images of Mont Sainte-Victoire.

The purpose of this creative project was to conduct a study on the usage of perspective in the works of French Artist Paul Cezanne and Chinese Artist Ku, Hung-Chung. By finding the relationships between the two, the student would be able to better his understanding of both Western and Eastern Art.In this project, the student identified and compared the physical and theoretical similarities, as well as the differences, in the use of perspective by Cezanne and Ku.From the result, the student attempted to develop and refine his personal concept of the perspective in his own works.

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-18T17:52:22Z (GMT). No. of bitstreams: 1 Couto_MariadeFatimaMorethy_M.pdf: 10823805 bytes, checksum: ae8e50de078f9b74f9f73a32aba37641 (MD5) Previous issue date: 1993 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Historia da Arte e da Cultura / Mestre em História

No description available.

This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-28T15:51:26Z (GMT). No. of bitstreams: 1 Paiva_RodrigoOtaviodaSilva_M.pdf: 56650567 bytes, checksum: 5cf8ce9d6ae195ad7c9d232ddebd592e (MD5) Previous issue date: 1999 / Resumo: Não informado / Abstract: Not informed / Mestrado / Mestre em História

No description available.

The purpose of this thesis is to give a biographical account of the life and labors of Charles Ora Card in order to show his contributions to the idle history of the Church of Jesus Christ of Latter-day Saints and in particular to the Latter-day Saint communities of Logan, Utah, and Cardston, Alberta.This work is based upon information found in journals kept by Charles Ora Card, supplemented with information from books, newspapers, manuscripts, diaries, and interviews to enrich and amplify the account.