Partant du constat de l'importance du sujet pour le peintre futuriste a une epoque ou les avant-gardes europeennes tendent a l'abstraction, la presente etude demontre que la ville fut un theme capital dans l'elaboration de l'esthetique futuriste. En effet, les peintres italiens ne cherchaient pas tant a depeindre l'apparence, l'aspect visible de la ville qu'a apprehender de facon conceptuelle les idees-forces qui en emanaient. A travers l'entite "ville", ils revelerent les concepts inherents au monde moderne et en etablirent les equivalents plastiques. / Ainsi, c'est a travers le sujet de la ville que s'expriment les idees-forces les plus originales du mouvement, telles que la modernolatrie, le dynamisme universel, la vitesse, le devenir, la transformation, l'unanimisme et le simultaneisme, illustres dans trois chapitres intitules 'La ville montante', 'La ville electrisee' et 'La ville simultanee'. Geux-ci demontrent comment certains motifs recurents du cadre urbain comme les echafaudages des chantiers de construction, les lampadaires, les foules ou les bolides sont transcendes par ces idees-forces. La representation de la ville par les futuristes ne releve pas simplement de la description mais d'un programme d'abord politique puis esthetique: l'avant-garde italienne a cree une nouvelle conception du beau, a revele la beaute de la ville moderne et des valeurs qui lui sont inherentes.

No description available.

Thesis (M.A.)--University of Wisconsin--Madison, 1965. / Includes bibliographical references (leaves 82-87).

Thesis (Ph.D.)--University of Delaware, 2006. / Principal faculty advisor: Ann Eden Gibson, Dept. of Art History. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1965. / Title from title screen (viewed Sept. 20, 2007). Bibliography: l. 82-87. Online version of the print original.

This study examines the artistic output in the diocese of Grosseto, which was part of Sienese controlled territories in Medieval and Renaissance times, and sheds light on the artists who worked there, the works that they produced, the purpose of these works and the way that these were shaped by local patrons, popular beliefs and long- standing traditions. It encompasses a period in the history of Siena that starts in c. 1380 with the political turmoil that followed the fall of the government of the Nine in 1355, and ends in c. 1480, around the time of Pandolfo Petrucci’s exile from the city. A contextualized overview of the activity of artists from Siena and beyond, such as Matteo di Giovanni, Sassetta, Vecchietta Francesco di Giorgio, Giovanni da Ponte and Andrea Guardi in the diocese of Grosseto is provided by means of visual examination and new documentary evidence. Relevant case studies offer a new perspective on the development of local visual imagery, the style and iconography of panel paintings, sculptures and fresco cycles and how these related to local devotional practices and patronage. The study shows that the development of independent taste in commissioning and acquiring artworks transcended geographical boundaries and political influence, and that original developments took place alongside the imitation of imported models. This research contributes to a new understanding of the relationship between Siena and Grosseto and proposes that notwithstanding Sienese influence, other cultural models were available, and that these were adapted to suit local requirements. A thorough investigation of local patronage establishes that this involved civic, religious and lay sources and that these shaped civic rituals and devotional responses to the cult of patron saints. It brings to light a vivid, yet complex image whereby all the realms of society interacted and benefitted from cultural exchange.

No description available.

In the period following the Cinquecento Renaissance, contemporary seventeenth century Venetian artists were presented with two enormous challenges. The first was to attempt to reinterpret their visual tradition within a shifting political climate without declining into an overt stylistic retrospection. The second was to try and retain a semblance of the personification of state identity—those qualities that had been established and distinguished by Venetian art in the Cinquecento —and which were present in the visual patrimony of paintings and drawings. Carlo Ridolfi, art critic and author of Le maraviglie dell’Arte (1648) eloquently stated the problem in his biography of Giovanni Contarino, a student of Titian’s, when he praised the work of the Cinquecento masters as the epitome of artistic production to the extent that he says, “it is with reason that one could use as motto the two columns of Hercules with the words: “Ultra quid faciam?" it is in fact vain to pretend better examples, and rarer beautiful things could be made.” This dissertation considers two parallel issues at work: the stylistic legacy of Cinquecento Venetian masters and their importance in the work of their Seicento heirs, and the purposeful dissolution and sale of collections of work by those masters during the seventeenth century. The business activities of art dealers Marco Boschini (1602/5—1681), Paolo del Sera (1614—1672) and their associates are examined alongside their perceptions and criticisms of Cinquecento and Seicento artistic production, and the voracious appetite of English collectors for Venetian pictures in the opening decades of the seventeenth century is considered. Exploring the situations—political (the artist), economic (the dealer), and social (the patron)—present in Venice during the early seventeenth century and their direct relation to the perceived aesthetics of a cultural legacy, this project provides a reassessment of how established value sets in Venetian art were considered successful or not within their cultural context, and how those stylistic evaluations affected artists working in Venice during the early Seicento.

Thesis (Ph.D.)--The University of Texas at Austin, 1996. / Includes bibliographical references (leaves 680-718).

Issued in part (xii, 47 p.)--as the author's inaugural dissertation, Basel. / "Literatur-abkürzungen": p. [x]-xvi.