Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-06-29T15:06:19Z No. of bitstreams: 1 joaovictorrossettibrancato.pdf: 10806451 bytes, checksum: 86ccf90523ed056be6f8ddc22576cca2 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-07-03T14:04:42Z (GMT) No. of bitstreams: 1 joaovictorrossettibrancato.pdf: 10806451 bytes, checksum: 86ccf90523ed056be6f8ddc22576cca2 (MD5) / Made available in DSpace on 2018-07-03T14:04:42Z (GMT). No. of bitstreams: 1 joaovictorrossettibrancato.pdf: 10806451 bytes, checksum: 86ccf90523ed056be6f8ddc22576cca2 (MD5) Previous issue date: 2018-05-14 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Adalberto Pinto de Mattos (1888-1966) foi artista, professor e crítico de arte no Rio de Janeiro. Esta pesquisa tem por objetivo analisar a literatura artística produzida pelo autor durante a década de 20, momento de sua atividade nas revistas O Malho, Para Todos e Illustração Brasileira. A partir dessas fontes, busca-se investigar os princípios que regem seus textos e suas principais referências formativas a fim de compreender seus juízos acerca da pintura nacional e estrangeira. O trabalho centra-se no diálogo entre a tradição e a modernidade e privilegia as relações de intertextualidade entre a crítica de Mattos e a de outros críticos e teóricos, tanto do passado quanto seus contemporâneos. A postura historiográfica assumida compromete-se a uma revisão sobre a arte brasileira do entresséculos XIX e XX. / Adalberto Pinto de Mattos (1888-1966) was an artist, teacher and art critic in Rio de Janeiro. This research aims to analyze the author’s artistic literature produced during the 20's, period of his activity in the magazines O Malho, Para Todos and Illustração Brasileira. From these sources, it seeks to investigate what principles rule his texts and his main formative references, in order to understand his judgements about national and foireign painting. This work focuses in the dialogue between tradition and modernity and privileges intertextual relations between Mattos’ criticism and that of others critics and theorists, both of the past and his contemporaries. The assumed historiographical position commits itself to a revision about brazilian art between 19th and 20th centuries.

Dans cette étude, nous examinons le développement du portrait peint à l’époque hellénistique et romaine dans une aire géographique étendue qui couvre la Grèce continental, l’Italie du Sud et les régions d’Égypte où la civilisation gréco-romaine fut présente. Étudier la peinture des portraits, conservée sous une forme très lacunaire, exige deux méthodes parallèles : l’approche de la théorie par les sources écrites, ainsi que la constitution d’un corpus archéologique des œuvres conservées. Notre but est d’organiser la documentation pour mettre en évidence certains dossiers utilisant une approche analytique, susceptible d’initier une discussion sur la construction des notions qui fabriquent le portrait antique. Le portrait peint est vu à la lumière d’une documentation textuelle enrichie et se croise avec les images que notre conception reconnaît sur les monuments peints, comme des représentations qui expriment la relation étroite entre le modèle original et sa figuration picturale. / Object of this research is the study of the development of portrait painting in the Hellenistic and Roman period through the monuments from continental Greece, South Italy and the areas of Egypt, where the Greco-Roman civilization was present. The study of ancient portrait painting, which is preserved in a very fragmentary form, demands a double approach: the study of the theory through the literary documentation and the display of an archeological catalogue through the preserved monuments. Aim of this research, is to organize the documents using an analytical approach, witch initiates a discussion of concepts that contributes to the construction of notions of the ancient portrait. The painting of portraits is seen through a comparison of a textual enriched documentation, and the painted images, that our conception recognizes as representations, expressing the close relationship between the original model and its pictorial representation.

S’il n’existe pas d’« objet esthétique », comme l’ont soutenu Genette et Schaeffer, mais simplement des « relations esthétiques », comment définir ce que sont ou ce que font les œuvres d’art ? Un concept élémentaire, présent de façon diffuse dans de nombreux écrits sur l’art, se révèle opératoire : le concept de singularité. La singularité peut expliquer nombre des qualités attribuées aux œuvres d’art, notamment leur capacité maintes fois relevée à arrêter l’attention. Comme l’ont souligné de nombreux penseurs, de Kant à Goodman, l’œuvre d’art tient l’esprit en éveil : dans la relation aux œuvres d’art, écrit ce dernier, « le moteur est la curiosité et le but est d’obtenir des lumières » [Nelson Goodman, Langages de l’art (1968), trad. J. Morizot]. Exigeant que l’attention se porte sur l’objet en tant qu’individu, la singularité met à mal les généralités formulées sur les œuvres d’art, tout en inscrivant chacune d’entre elles dans l’histoire. Pour percevoir et comprendre une singularité, il est nécessaire de connaître le « monde de l’art » contre lequel elle s’affirme : l’établissement d’une généalogie se révèle indispensable. Renversant la logique de l’origine, l’identification de la parenté immédiate d’une œuvre d’art permet de saisir des relations d’identité entrelacées, croisées, mais aussi et surtout ces différences déterminantes grâce auxquelles l’œuvre peut affirmer sa propre singularité… et peut-être de susciter à son tour une descendance. Plusieurs études de cas s’attachent à le montrer - textes sur l’art de Greenberg, Rosenberg ou Judd, et œuvres d’art de Warhol, Levine ou Sehgal –, cherchant à tracer ainsi, de façon généalogique, les voies de la singularité. / If there is no such object as an “aesthetic object”, as Genette and Schaeffer have argued, but only “aesthetic relations”, how to define what an artwork is or does? An elementary concept, present in a pervasive manner in many writings about art, appears to be operative: the concept of singularity. Singularity can explain a lot of the qualities, which are usually assigned to artworks, in particular their ability to draw attention on them. As many authors have emphasized, from Kant to Goodman, an artwork keeps the mind active: in our relation to artworks, writes the latter, “the drive is curiosity and the aim enlightenment”.Given that this sort of attention requires to focus on the object as an individual, singularity jeopardizes the generalities, which are usually stated about artworks, though inscribing each of them in history. In order to perceive and to understand a singularity, it is necessary to know against which “artworld” this singularity asserts itself: an indispensable step seems the establishment of a genealogy. Through reversing the logic of origin, the identification of the immediate relationship of an artwork allows to embrace intertwined identity links, but also, and above all, these decisive differences, which allow the artwork to assert its singularity… and maybe to arouse some descendants. Different case studies make every effort to show it – texts about art written by Greenberg, Rosenberg or Judd, artworks from Warhol, Levine or Sehgal –, trying to trace, along a genealogical path, the roots of singularity.

S’inscrivant dans la continuité des études menées sur le Nord-Pas-de-Calais, cette thèse vise à mettre en avant l’apparition et le développement du paysage septentrional dans la peinture française au XIXe siècle. Si des études de ce genre ont déjà été réalisées pour la Normandie et la Bretagne, il n’en est pas de même pour le Nord-Pas-de-Calais. Ce travail inédit, mis en relation avec un contexte historique -visant pour l’essentiel à étudier et cerner les déplacements des artistes au sein de la région-, culturel et artistique dense, permettra de comprendre dans quelles circonstances et de quelles manières se développent ces réalisations. L’étude vise également à cerner et définir les motifs emblématiques de la région tels les beffrois, les moulins, les espaces dunaires, les marais … L’étude reposera un corpus d’œuvres, formant un catalogue, représentatif du paysage septentrional au XIXe siècle. / In addition to the many studies of the Nord-Pas-de-Calais, this thesis aims to highlight the emergence and development of the northern landscape in French paintings of the nineteenth century. Even though there have already been some studies done regarding the Normandy and Brittany regions, it is not the case for the Nord-Pas-de-Calais. This never published before research combined with the historical context aims to study and identify the movement of artists within the region whose artistic culture is dense. This will help us understand when and how were developed these achievements. The study also aims to identify and define the emblematic patterns of the region such as belfries, mills, dune areas, marshes ... The study will use a collection of works, forming a catalogue representative of the northern landscape in the nineteenth century.

Critique et historien de l’art autodidacte, mais aussi éditeur, galeriste, commissaire d’exposition, expert, courtier et infatigable homme de terrain, Julius Meier-Graefe (1867-1935) joua un rôle prééminent dans le monde de l’art européen des trente premières années du XXe siècle. Basé sur l’examination d’archives et de correspondances inédites ainsi que sur une relecture attentive de son vaste corpus d’écrits publiés, ce travail entend retracer la trajectoire d’un passeur téméraire souvent réduit à un rôle de défenseur de l’impressionnisme français dans l’Allemagne de Guillaume II. Si son progressisme francophile tout comme le formalisme de son approche des arts visuels ont parfois été soulignés, l’analyse détaillée de son implication dans le marché de l’art, le monde des musées et plus généralement, dans les débats politico-culturels de son temps, révèle une personnalité plus nuancée. Bien que méfiant envers les fantasmes identitaires des élites allemandes conservatrices, Meier-Graefe lutta sans répit pour un nationalisme d’ouverture, espérant infléchir le cours d’une culture germanique disloquée et hostile aux valeurs de la modernité. En suivant la carrière de cet Allemand cosmopolite, brutalement cisaillée par la Grande Guerre et achevée en France en exil du nazisme, cette thèse entend décrypter les mécanismes d’un projet de régénération culturelle ambitieux, impliquant actes et discours. Alternant entre phases d’enthousiasme intense et de profond désenchantement, Meier-Graefe s’y dévoile comme le chantre d’une modernité idéalisée dont il condamna obstinément les embardées avant-gardistes. / Self-taught art critic and historian, but also publisher, gallery owner, curator, expert, broker and tireless field man, Julius Meier-Graefe (1867-1935) played a prominent role in the European art world of the early 20th century. Based on a close study of numerous archives and letters, as well as a careful rereading of his vast body of published work, this dissertation endeavours to retrace the life of a reckless facilitator, whose career is too often reduced to the role of “importer” of modern French art in Germany. If Meier-Graefe has been frequently identified through his progressive francophile positions and formalistic viewpoints on visual arts, a detailed analysis of his involvement in the art market and institutions—and more broadly, in the political/cultural debates of his time—reveals a richer personality. Wary of the identity concerns shared by conservative elites of the Empire, he vigorously encouraged a “positive” nationalism, hoping to adjust the course of a fragmented Germanic culture hostile to the values of modernity. Tracing the steps of a cosmopolitan German whose path was brutally affected by the outbreak of World War I, this essay examines the mechanisms of his ambitious project of cultural regeneration, involving both action and discourse. Jostled between phases of enthusiasm and deep disillusionment, Meier-Graefe emerges as the champion of an idealized modernism, whose avant-garde experiments he nevertheless severely condemned.

This study identifies, explains, and develops a practical model of teaching art criticism within a traditional secondary art curriculum. The approach to teaching art criticism uses the discipline-based art education format described in the Getty publication of 1985, a composite art critical format including B. Bloom, E. Feldman, K. Hamblen, and E. Kaelin, is accomplished through a process model curriculum developed by L. Stenhouse, and uses K. Gentle's curriculum design as the basis of the Curriculum Model Diagram. The project provides lessons that are intended to help junior high school, and senior high school art students develop the necessary skills to make informed judgements about art in the production, historic, aesthetic, and critical areas of the existing art curriculum. The methodology is presented in a lesson plan design, includes a Biographical Sketch, and a Six-Part Questioning Strategy. Three experienced artist/teachers were asked to review the curriculum and, using the Artist/Educator Questionnaire, evaluate it. Feedback from the three reviewers suggested several ways the curriculum could be tailored to individual teacher and program needs.

Orientador: Marcos Tognon / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T11:35:24Z (GMT). No. of bitstreams: 1 Ribeiro_RobsonOrzari_M.pdf: 1987529 bytes, checksum: 825acaf88afcdfe12668a3395f469c98 (MD5) Previous issue date: 2013 / Resumo: O presente trabalho tem como proposta mapear a constituição de um saber no campo da História da Arte associado à política de preservação patrimonial brasileira, desde a primeira metade do século XX, logo após a instituição do Serviço do Patrimônio Histórico e Artístico Nacional. Para tal, valemo-nos das publicações especializadas do órgão, denominadas: "Revista do Serviço do Patrimônio Histórico e Artístico Nacional", editadas entre 1937 e 1978, quando a mesma esteve sub jurisdição e influência de Rodrigo Melo Franco de Andrade. A análise pretende apresentar elementos que delimitem o valor de tais publicações na criação, consolidação e divulgação de uma metodologia para o estudo da História da Arte no Brasil. Para isso, denotaremos o momento de constituição desse saber e as bases epistemológicas que orientaram os principais autores da Revista quanto à História da Arte do país, uma vez que a análise recaiu sobre o principal e único periódico da época a abordar temas peculiares a essa área. / Abstract: This paper aims to map the formation of knowledge in the field of art history associated with the Brazilian policy of heritage preservation, since the first half of the twentieth century, after the institution of Service National Historical and Artistic Heritage. To this end, we make use of the publications of that institution, named "Journal of Service National Historical and Artistic Heritage," published between 1937 and 1978, when it was under the jurisdiction and influence of Rodrigo Melo Franco de Andrade. The analysis aims to provide elements clarifying the value of such publications in the creation, consolidation and propagation of a methodology for the study of art history in Brazil. For this, denote the time of incorporation of this knowledge and the epistemological foundations that guided the main authors of the journal as the art history of the country, since the analysis drew on the main and only periodical of the time to address issues peculiar to this area. / Mestrado / Historia da Arte / Mestre em História

Jana Cermanová Prague sculpture exhibitions 1898 - 1916 A contribution to the theme of gallery sculpture presentation Dissertation synopsis Sculpture as an artistic discipline experienced a dynamic rise in the Czech lands at the turn of the 19th and 20th centuries. This followed the much admired example of France, where Charles Morice, referencing Rodin and his pupils, asserted the dominance of modern sculpture over painting in 1910. Thanks in large part to major art world figure and educator J. V. Myslbek, the Czech lands also saw the development of a highly ambitious group of sculptors poised to address a growing social demand for monumental works (particularly memorials) that recaptured the city's public space. Sculptors worked on architectural commissions for decorative sculptures and on orders for funerary objects, which guaranteed them an income and enabled them to pursue their own creative work. However, it was chiefly this "flood of monuments" that attracted public attention to sculptors and garnered them social prestige. Sculptors became more deeply involved in art events and played a major role in addressing contemporary art world issues. The public boom enjoyed by sculpture carried over into exhibition halls, where ...

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