Il s’agit dans cette thèse de penser les conditions de possibilité d’une philosophie de l’art à partir d’un examen précis et rigoureux de la production artistique picturale de la Renaissance italienne. Cherchant d’abord à définir une méthode, nous étudions en détail les présupposés de l’iconologie afin d’établir ce qui nous en semble être les limites. Puis, forts de cette analyse, nous en déduisons la nécessité d’une philosophie de l’art qui, loin de se contenter d’une analyse érudite de l’icône, cherche à extraire la signification de l’œuvre à partir de sa forme sensible. Si les pensées de Platon, Hume et Kant nous semblent échouer à proposer pareille démarche, les leçons de Hegel consacrées à l’Esthétique nous offrent un schéma analytique opérant, grâce auquel l’espace, le dessin et le coloris fournissent le lieu même à partir duquel peut surgir le sens. C’est ainsi que les œuvres de Fra Angelico, Botticelli, Léonard de Vinci et Michel-Ange constituent le matériau artistique grâce auquel nous mettons à l’épreuve la pertinence du triptyque espace-dessin-coloris, tel qu’il fut élaboré par Hegel. En outre, ce sont les pensées philosophiques consacrées au lieu, à la lumière ou encore à la couleur que nous convoquons – tant chez Thomas d’Aquin que chez Marsile Ficin, chez Albert le Grand que chez Plotin, chez Aristote que chez Nicolas de Cues – afin de proposer un sens philosophique des œuvres picturales, que ne nous semblent paradoxalement pas pouvoir délivrer les théories de l’art que proposent ces derniers. Chercher le sens philosophique des œuvres à même leur sensibilité et non dans une théorie de l’image, tel est donc le projet essentiel de cette thèse. / This thesis discusses the conditions of possibility for a philosophy of art based on a precise and rigorous analysis of the pictorial artistic production of the Italian Renaissance. After attempting at defining a method, the presuppositions of iconology are studied in detail with a view to establishing what appear to be their limits. On the basis of this analysis, the author deduces the need for a philosophy of art which, rather than just carrying out an erudite analysis of the icon, endeavours to extract the meaning of a work of art on the basis of its sensitive shape. While Plato, Hume and Kant’s thoughts seem to fail in proposing such an approach, Hegel’s teachings dedicated to aesthetics offer an operational analytical framework, thanks to which space, drawing and colour provide the very place out of which sense can come into being.Hence the works of Fra Angelico, Botticelli, Leonardo da Vinci and Michelangelo constitute the artistic material out of which the relevance of the space-drawing-colour triptych, as developed by Hegel, is put to the test. Furthermore, reference is made to the philosophical thoughts on space, light and colour – as expressed by authors like Thomas Aquinas, Marsilio Ficino, Albert the Great, Plotinus, Aristotle and Nicholas of Kues – with a view to proposing a philosophical sense of pictorial works of art, which paradoxically the theories of art provided by these authors do not seem able to deliver. It is the fundamental aim of this thesis to look for the philosophical sense of works of art through their own sensitiveness and not through a theory of the image.

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Submitted by Kilvya Braga (kilvyabraga@hotmail.com) on 2018-04-23T22:31:15Z No. of bitstreams: 1 BRENO GOMES DE LIMA AMORIM – DISSERTAÇÃO (PPGH) 2016.pdf: 888574 bytes, checksum: 2e9711505fe7f4e309890ee9bc238b9c (MD5) / Made available in DSpace on 2018-04-23T22:31:15Z (GMT). No. of bitstreams: 1 BRENO GOMES DE LIMA AMORIM – DISSERTAÇÃO (PPGH) 2016.pdf: 888574 bytes, checksum: 2e9711505fe7f4e309890ee9bc238b9c (MD5) Previous issue date: 2016-06-07 / O presente trabalho procura analisar a presença do mundo antigo na obra Sobre a Família, escrita pelo florentino Leon Battista Alberti, no século XV. O Sobre a Família se constitui como um manual cívico elaborado com a intenção de formular um modelo de família considerado útil para a Florença do Quattrocento. Em um primeiro momento, discutimos sobre o conceito de família na antiguidade, levando em consideração sua ambigüidade e artificialidade, e como se construiu o discurso da importância da família para a conservação dos valores citadinos. Mapeamos elementos do mundo grecoromano que servem para justificar o modelo de família proposto pelo humanista. Do mesmo modo, problematizamos em que medida os temas postos pela historiografia da Roma Antiga são apropriados com a intenção de incutir no cidadão florentino o apreço pela virtude. Por fim, analisar-se-á como a antiguidade é recepcionada em períodos posteriores. Trata-se de perceber como o passado (antiguidade) pode sugerir algo em um determinado presente (século XV). / The present paper seeks to analyze the presence of the ancient world in the work On the Family, written by the Florentine Leon Battista Alberti, in the fifteenth century. On the Family is constituted as a civic manual developed with the intent of formulating a famil y model considered useful for the Florence of the Quattrocento period. I n a first moment, we discussed about the concept of family in ancient times, taking into consideration its ambiguity and artificiality, as well as how the discourse on the importance of the family was constructed for conserving the city values. We mapped elements of the Greco-Roman world that serve to justify the family model proposed by the referred humanist. In the same way, we questioned to what extent the topics pointed by the historiography of Ancient Rome are appropriated with the intention of instilling in the Florentine citizen an appreciation for virtue. At last, we will analyze how antiquity is received in poster periods of time. We seek to perceive how the past (antiquity) may suggest something in a given present time (the fifteenth century).

(in English): Represented dissertation dedicated to the issue of male portraits of friends in Italian renaissance painting. Despite of existence of some publications focused on the specific aspects of male portraiture, this area has not been yet given sufficient research interest. In the introductory clause is presented theoretical outline of the male friendship concept of male friendship in the culture of the Italian Renaissance and also some key aspects of the portrait genre. The work is divided into chapters by topic: for example, "Portrait and Antique", "Portrait and Remembrance", "Portrait and Poetry". Some particularly interesting moments were extracted into separate excursions as profile portraits of two men, the subject of a mirror in a portrait genre, the communication possibilities of images. Artworks analyzed in the present research are not classified into a classical model of chronological "development". The pictures are interconnected with theoretical thinking, which is also conditioned by the artwork itself. For each painting, existing researches have been gathered and comprehended. There are also new iconographic interpretations of some of the presented works. For research have been abundantly used literature of period, theoretical writings and poetry. The work tries to respond to...