The dissertation inquires into the participation of the historic aristocracy in the agency of the Society of the patriotic friends of arts and the Association of fine arts. On the basis of an analysis of the annual reports of both of the institutions a survey of selected aristocratic contributors and donators of works of art will be made. In addition to this, the dissertation focuses on several of the more or less noted aristocratic members of the named institutions. In this respect a form of their interest in collecting of artworks and in art patronage, shortly {--} in their virtu, will also be partly dealt with. As an introduction to the subject the survey is preceded by a text dealing with even earlier activities concerning art patronage and art collections that occured in the region of the Czech kingdom and also the Margraviate of Moravia.

Cette thèse a deux préoccupations principales : la présentation des peintures communément nommées farangi sāzi, et la carrière de l'artiste Ἁli Qoli Jebādār. Littéralement « faire » ou « construire » « à la manière européenne », l'expression peintures farangi sāzi désigne certaines productions de la peinture iranienne datant de la fin du XVIIe siècle. Ces peintures emploient visiblement les techniques du clair-obscur et de la perspective, et représentent de nouvelles scènes qui ne s'appuient pas toujours sur la littérature classique iranienne. Il semblerait cependant que le qualificatif du farangi sāzi s'agisse d'une expression orale assez flexible qui pourrait avoir été appliquée à plusieurs activités non associées à la tradition artisanale iranienne. Ces peintures ont été réalisées en majorité sous le règne de Shāh Soleymān (1666-1694). On a donc souligné l'existence d'une dualité entre les courtisans et l'entourage proche du shāh ou son sérail, au sein du pouvoir safavide à cette époque. Bien qu'il n'existe pas de trace écrite sur le patronage artistique de la Maison du roi, on a essayé d'indiquer la piste possible d'un mécénat de cette Maison royale. La deuxième partie de la thèse a été consacrée à Ἁli Qoli Jebādār et à la question de ses signatures, ses peintures, et aux modalités de sa carrière en général. Ainsi, on a souligné les points les plus emblématiques de la littérature concernant l'artiste et on a étudié les structures visuelles et théoriques de ses peintures. Dans la dernière partie, on a émis de nouvelles hypothèses sur la carrière et les origines incertaines de Ἁli Qoli Jebādār. / This thesis has two main concerns: the presentation of commonly named Farangi Sazi paintings, and Ἁli Qoli Jebādār artistic career. Literally "make" or "build" in "the European manner", this term refers to some productions of the Iranian painting dating from the late 17th century. These paintings use visibly chiaroscuro and perspective, and show new scenes which do not always rely on Iranian classical literature. It seems however, that the expression of Farangi Sazi is a fairly flexible oral one, which could have been applied to several activities not associated with the Iranian craft tradition.These paintings were done mostly during the reign of Shah Soleiman (1666-1694), where existed a duality between the courtiers and the household of the Shah. Although there is no written evidence on the artistic patronage of the Royal household, we tried to indicate its possible track.The second part of the thesis was devoted to Ἁli Qoli Jebādār and the question of his signatures, his paintings, and the terms of his career in general. Thus, the most emblematic points of the literature about the artist have been stressed out. We have also studied the visual and theoretical structures of his paintings. In the last part, we issued new assumptions about career and uncertain origins of Ἁli Qoli Jebādār.

The aim of this study is to investigate the role of posthumous portraits in the Tornabuoni family as a tool of positioning itself through visual rhetorics. The basis for the examination is three portraits of Francesca Pitti, Giovanna degli Albizzi and Lucrezia Tornabuoni, together with an altarpiece depicting the Visitation with Mary Jachobi and Mary Salome. The study uses iconography to analyse the images and using a rhetorical analysis to understand the visual rhetorics used by the family. The study finds that there are different hidden meanings in the portraits, Francesca is remembered by her husband by pure grief; Lucrezia is honoured as the bridge between the Tornabuoni and the Medici families, and Giovanna is remembered by her husband as the continuation of the dynasty in its time of crisis, as well as the pure loss and grief of his beloved wife and unborn child inside the walls of the palazzo. This study uses the theoretical framework of visual rhetorics, as developed by the historian Paul Zanker and adopted by art historian Johan Eriksson, to analyse the behaviour of commissioning posthumous portraits of deceased women and viewing them both in public and private spaces in churches and in the palazzo. As Alberti says: ''Through painting, the faces of the dead go on living for a very long time.''

No description available.

This dissertation analyzes the relationship between élites and urban spaces with the aim of creating a profile of municipal patronage of art and architecture in Italian cities during the late republican period (2nd and 1st centuries BCE). Starting from a discussion of the methods and the terms previously used by scholars (euergetism, munificence, etc.), the research delves into the civic and urban histories of Italian cities to study the interactions between monuments and society. With the aid of a substantial epigraphic dossier – as well as archaeological and literary sources – I discuss the actors, the processes, and the cultural aspects behind the construction of public buildings and monuments in late Hellenistic Italy. At the center of the work stand three case studies (Aquileia, Praeneste, and Pompeii), each offering a peculiar perspective on the topic. Thanks to the close reading of these cases, I offer new readings and conclusions on various problems connected with the social and economic history of Italian communities, the relationship between Rome and the Italian allies, and the development of Italian urbanism in the context of the Roman hegemonic expansion.

Thesis (Ph. D.)--Yale University, 1992. / Fourteen unnumbered p. containing figures 1-25 have not been filmed at the request of the author. Includes bibliographical references (leaves 222-227).

Esta dissertação tem por tema a pintura de história de Antônio Parreiras (1860-1937) realizada durante a Primeira República (1889-1930). Busca compreender a atuação do pintor no embrionário mercado das artes do entresséculos XIX-XX, com ênfase nas relações estabelecidas com os poderes públicos. Pretende mostrar como Parreiras foi capaz de estimular a demanda por pinturas decorativas para os espaços públicos que estavam sendo construídos ou reformados a fim de atender as necessidades do novo regime. Discute como, nestas obras, se combinaram ditames do encomendante e vontade do artista, que, para além de cumprir os contratos, imprimiu nos quadros sua visão da história nacional. Propõe uma compreensão das telas históricas de Parreiras analisadas à luz dos debates artísticos, intelectuais e historiográficos da época. Nesse sentido, salientamos o capítulo final da dissertação, dedicado à análise da representação dos indígenas em sua obra. Através desta investigação pretende-se iluminar o papel desempenhado por Antônio Parreiras em um ambiente marcado por disputas simbólicas renhidas. / The subject of this dissertation is the historical painting of Antônio Parreiras (1860-1937) produced during Brazilian\'s First Republic (1889-1930). It seeks to understand the painter\'s role in the embryonic art market between the XIX and XX centuries, emphasizing the establishment of relationships between him and the governments. It aims to show how Parreiras was able to stimulate the demand for decorative paintings for the public spaces that were being built or remodeled to meet the needs of the new regime. Furthermore, it discusses how, in his paintings, the ditames of the ordering party were combined with the will of the artist whom, besides fulfilling the contracts, imprinted on the paintings his vision of the national history. Parreiras\' historical canvases are important elements in the genesis process of our country\'s regional identities, throughout the making of republican ideal. This analysis intends to shed light on the part played by Antônio Parreiras in an artistic and intellectual environment marked by instability and hard fought contested symbolic disputes.

Esta dissertação tem por tema a pintura de história de Antônio Parreiras (1860-1937) realizada durante a Primeira República (1889-1930). Busca compreender a atuação do pintor no embrionário mercado das artes do entresséculos XIX-XX, com ênfase nas relações estabelecidas com os poderes públicos. Pretende mostrar como Parreiras foi capaz de estimular a demanda por pinturas decorativas para os espaços públicos que estavam sendo construídos ou reformados a fim de atender as necessidades do novo regime. Discute como, nestas obras, se combinaram ditames do encomendante e vontade do artista, que, para além de cumprir os contratos, imprimiu nos quadros sua visão da história nacional. Propõe uma compreensão das telas históricas de Parreiras analisadas à luz dos debates artísticos, intelectuais e historiográficos da época. Nesse sentido, salientamos o capítulo final da dissertação, dedicado à análise da representação dos indígenas em sua obra. Através desta investigação pretende-se iluminar o papel desempenhado por Antônio Parreiras em um ambiente marcado por disputas simbólicas renhidas. / The subject of this dissertation is the historical painting of Antônio Parreiras (1860-1937) produced during Brazilian\'s First Republic (1889-1930). It seeks to understand the painter\'s role in the embryonic art market between the XIX and XX centuries, emphasizing the establishment of relationships between him and the governments. It aims to show how Parreiras was able to stimulate the demand for decorative paintings for the public spaces that were being built or remodeled to meet the needs of the new regime. Furthermore, it discusses how, in his paintings, the ditames of the ordering party were combined with the will of the artist whom, besides fulfilling the contracts, imprinted on the paintings his vision of the national history. Parreiras\' historical canvases are important elements in the genesis process of our country\'s regional identities, throughout the making of republican ideal. This analysis intends to shed light on the part played by Antônio Parreiras in an artistic and intellectual environment marked by instability and hard fought contested symbolic disputes.

The thesis deals with French sculptors and painters active around 1700 at the Royal Palace in Stockholm. They were summoned from Paris by the architect Nicodemus Tessin the younger (1654–1728). This study analyses the Frenchmen’s professional roles, how Tessin organised their work and the working methods applied in the decoration of the Gallery of Charles XI and the adjoining parade rooms. It also involves questions concerning the artist’s roles and the status of artistic professions at the early modern period. The artisans were a group of some fifteen sculptors, painters, founders and a goldsmith. Several of them were accompanied by family members, some of whom were active in the workshop. In France these sculptors and painters had worked in the Bâtiments du Roi  and particularly at the Gobelins. Although they were not part of the artistic elite at the Académie Royale de Peinture et de Sculpture they had vital knowledge in classical pattern/design, le bon goût and drawing. The artisans were also members of the guild system and were thus permitted to accept private commissions. My aim has been to clarify the artisans’ background in Paris and the recruitment undertaken by the diplomat Daniel Cronström (1655–1719). With regard to their activities in Sweden, it has been important to clarify their conditions in the building organisation at the Royal Palace, including social contexts such as their family situation and the possibility to practise their Catholic faith. Equally important is the professional relationship between the Frenchmen and Tessin, who was appointed Superintendent in 1697. Through detailed archival studies, the working practices and the creative process are analysed, especially the collaboration between Tessin and the painter Jacques Foucquet and the sculptors René Chauveau (1663–1722) and Jacques Foucquet (1639–1731).

L’action des conseillers du roi de France dans le domaine artistique, et notamment architectural, au tournant des XIIIe et XIVe siècles, a été abordée dans le cadre d’études monographiques, mais n’a jamais été envisagée dans un souci de synthèse. Recenser les bâtiments et les œuvres d’art réalisés à l’initiative de ces individus dans l’ancien royaume de France, les confronter avec les entreprises et les commandes royales permet de comprendre les motivations et l’impact d’un milieu alors en plein essor, celui des grands officiers royaux et des hommes de confiance qui assistaient quotidiennement le roi et l’aidaient à gouverner. L’époque retenue couvre les règnes des derniers Capétiens, Philippe le Bel (1285-1314) et ses trois fils (1314-1328). Il a semblé souhaitable d’étendre l’étude en amont au règne de Philippe le Hardi (1270-1285), afin de prendre en compte les prémices d’un véritable phénomène, par ailleurs très diversifié : lancement de projets architecturaux de grande ampleur destinés à l’usage propre du conseiller et de sa famille, embellissement d’édifices existants, participation à de grands chantiers en cours (cathédrales), commandes de tombeaux, d’œuvres d’art destinées à orner des fondations pieuses, réalisation d’hôpitaux ou d’édifices utilitaires ; beaucoup d’exemples témoignent de l’ambition comme de la piété de ces hommes. Dans les textes mais également dans le paysage monumental français actuel, il a été possible de retrouver de nombreuses traces de cette action, dont une typologie a été établie. L’étude a pour but de répondre aux questions suivantes : les conseillers du roi partageaient-ils le même mode de vie et avaient-ils des goûts communs ? Leur action fut-elle en tout point semblable à celle des membres de la famille royale et de la haute noblesse ? Peut-on mesurer la portée de ces réalisations ? / The action of the councillors of the French king in the artistic domain, particularly architectural, at the turn of the XIIIth and XIVth centuries, aroused a large number of monographic studies, but has never been envisaged in a concern of synthesis. Listing buildings and works of art commissioned by these individuals in the realm of France, confronting them with those patronized by the king, let us understand the motivations and the influence of an environment then in full development, that of the royal officers who assisted the king and helped him to govern. The chosen period covers the reigns of the last Capetians, Philip the Fair (1285-1314) and his three sons (1314-1328). It seemed worthwhile to widen the study area to include the reign of Philip the Bold (1270-1285) in order to take into account the beginnings of the phenomenon, besides very diversified : launch of large-scale architectural projects intended for the councillor and his family, embellishment of existing buildings (like cathedrals), production of gravestones, execution of works of art made to “decorate” pious foundations, construction of hospitals or utilitarian buildings ; many examples show the ambition as the devotion of these men. In texts but also in current French architectural landscape, it has been possible to find numerous traces of this action, a typology of which has been proposed. The study aims at answering the following questions : did the king’s councillors share the same lifestyle, the same tastes ? Was their action completely similar to that of the members of the royal family and the nobility ? Can we measure the reach of these creations ?