Mémoire de maitrise--UER d'art et d'archéologie--Paris 1, 1989.

Mem.--Histoire de l'art--Paris 10, 1995. / Bibliogr. p. 89-96.

Th.--Histoire de l'art--Paris 4, 2002. / Bibliogr. p. 309-346. Index.

Thesis (M. A.)--Michigan State University. Dept. of Art and Art History, 2006. / Title from PDF t.p. (viewed on June 19, 2009) Includes bibliographical references (p. 74-79). Also issued in print.

Th. Univ.--Arts plastiques--Paris 8, 1993.

O objetivo desta tese é identificar alguns dos momentos da tradição artística visual moderna que pretenderam mapear a ascensão, a consolidação e a devastação do projeto de modernização do ponto de vista de suas vítimas no âmbito de um mercado no qual a arte e a cultura se consolidam, em passo acelerado, como mercadorias. A partir das demandas para a arte moderna codificadas na obra de Charles Baudelaire e das conquistas técnicas sedimentadas na pintura de Gustave Courbet, Jean-François Millet, Edgar Degas e Édouard Manet, examinaremos as configurações sociais e artísticas que permitirão a ampliação do quadro dos artistas trabalhadores. Tomaremos em seguida as obras dos fotógrafos Eugène Atget e Weegee como exemplos de produções artístico-fotográficas que ao elegerem o Trabalho como a categoria central na reflexão sobre o processo de modernização em curso ampliam ainda mais os horizontes artísticos, alçando-os a instrumentos de avaliação crítica de sua hora histórica. / The aim of this thesis is to identify some of the moments within the modern artistic tradition that intended to map the ascension, consolidation, and devastation of the process of modernisation from the point of view of its victims in the realm of a market in which culture and the arts were rapidly becoming commodities. Taking into account both the demands for Modern Art codified in the oeuvre of Charles Baudelaire and the technical advances in the works of Gustave Courbet, Jean-François Millet, Edgar Degas, and Édouard Manet, we will examine the social and artistic considerations that allowed the increase in number of working artists. The photographic oeuvre of Eugène Atget and Weegee will follow as examples of productions that, by electing Labour as its main theme, broaden even more the artistic horizons, making them critical instruments of their historical hour.

O objetivo desta tese é identificar alguns dos momentos da tradição artística visual moderna que pretenderam mapear a ascensão, a consolidação e a devastação do projeto de modernização do ponto de vista de suas vítimas no âmbito de um mercado no qual a arte e a cultura se consolidam, em passo acelerado, como mercadorias. A partir das demandas para a arte moderna codificadas na obra de Charles Baudelaire e das conquistas técnicas sedimentadas na pintura de Gustave Courbet, Jean-François Millet, Edgar Degas e Édouard Manet, examinaremos as configurações sociais e artísticas que permitirão a ampliação do quadro dos artistas trabalhadores. Tomaremos em seguida as obras dos fotógrafos Eugène Atget e Weegee como exemplos de produções artístico-fotográficas que ao elegerem o Trabalho como a categoria central na reflexão sobre o processo de modernização em curso ampliam ainda mais os horizontes artísticos, alçando-os a instrumentos de avaliação crítica de sua hora histórica. / The aim of this thesis is to identify some of the moments within the modern artistic tradition that intended to map the ascension, consolidation, and devastation of the process of modernisation from the point of view of its victims in the realm of a market in which culture and the arts were rapidly becoming commodities. Taking into account both the demands for Modern Art codified in the oeuvre of Charles Baudelaire and the technical advances in the works of Gustave Courbet, Jean-François Millet, Edgar Degas, and Édouard Manet, we will examine the social and artistic considerations that allowed the increase in number of working artists. The photographic oeuvre of Eugène Atget and Weegee will follow as examples of productions that, by electing Labour as its main theme, broaden even more the artistic horizons, making them critical instruments of their historical hour.

D.E.A.--Histoire de l'art--Paris 4, 1997.

All throughout the 1911 century, the city of Athens manifest a distinct character that was inspired by its history. Flourishing with Neoclassical civic architecture, it remained a modest metropolis that was planned to function harmoniously around its ancient monuments. Today in the 21st century, its landscape has undergone a radical transformation. The city has expanded uncontrollably to accommodate an ever-increasing inflow of urban migration, accumulating one half of the nation's entire population within a confined geological space. Athens has become a product of cataclysmic urban growth. Furthermore, the ancient city is becoming increasingly anonymous, sprawling, with a landscape that is subjected to dominant economic trends. My photographic work for this practice led Ph. D. critically examines the ways in which development has made an impact on the Athenian landscape, altering its physiognomy. My research draws together Eugene Atget's documentation of the city of Paris, in conjunction to Walter Benjamin's criticism of modernity to demonstrate how capitalism produced a destructive effect on culture and a loss of history to society at large. In addition, I investigate the documentary value of the work by contemporary photographer Andreas Gursky to establish the character of our own modern age, and to create a critical image of the city and its landscape in the photographs of my work. Throughout my research, l consider how Atget, Benjamin as well asGursky utilise the aesthetic of the photographic document as a model for generating a criticism of society, new ways of perceiving the world, in addition to generating a sense of historical awareness for the observer of their work. Through particular subjects such as the industry of property development, tourism, as well as others, I explore how Athens has lost the inherent connection with its history and the cultural heritage that it is simultaneously trying to promote. Juxtaposing Athens with Old Paris, I consider how the historic parts of the city become destroyed in the interest of urban development, and argue that the present chaotic appearance of city is not only the product of its modern history, but also the outcome of capitalism as a world historic condition of our time

La Renaissance de la photographie entre la fin des années 1920 et le début des années 1930 en France était-elle liée au seul cercle des avants-gardes ? Les historiens de la photographie ont longtemps orienté leurs recherches sur le fait que les photographes de la Nouvelle Vision avaient sorti la photographie des errements du pictorialisme et lui avait rendu son autonomie vis-à-vis des arts graphiques, toutefois ils ont négligé une remarque formulée dès 1930 par Carlo Rim selon lequel « les images abstraites de Man Ray et de Tabard, qui annoncèrent une réaction heureuse […] ne fur[ent] qu’une vogue éphémère ». Si la Nouvelle Vision fut considérée comme un nouvel âge d’or, elle fut rapidement éclipsée en France par un retour « à l’image la plus nette du sujet le plus pauvre » généré par la redécouverte des photographes primitifs.C’est à cette part de l’histoire de la photographie que cette étude sur le photographe Emmanuel Sougez (1889-1972) est consacrée. Car si Sougez a été élevé au rang des maîtres de la photographie et célébré jusque dans les années 1950 comme le plus grand photographe français vivant, c’est pour avoir réintroduit l’usage de la chambre photographique de grand format et le tirage par contact. Ce faisant, cette étude fait apparaître une autre face de la Renaissance de la photographie en France à partir d’une figure oubliée, en évoquant le rôle crucial que Sougez a joué entre le Premier Salon indépendant de la photographie en 1928 et le dernier Salon national de la photographie en 1959. Aussi, en soulignant l’apport de ce photographe à l’histoire de son art, cette thèse révèle des aspects inédits de la photographie dans la première moitié du XXe siècle. / Is it possible for the renaissance in the field of photography that took place in France between the 1920’s and early 1930’s to be traced to a single group of avant-garde artists ? Photography historians have traditionally concentrated their research on the fact that the photographs of the New Vision released photography from the mistakes of pictorialism and gave it back its autonomy in terms of graphic arts. However, they neglected a remark made in 1930 by Carlo Rim: “the abstract images of Man Ray and Tabard, which foreshadow a joyful reaction, are nothing but an ephemeral fad.” Though the New Vision can be considered to be photography’s new golden age, in France it was rapidly eclipsed by a return “to the most in focus image of the poorest subject,” generated by the rediscovery of early photographs.It is to this era in the history of photography that this study of the photographer Emmanuel Sougez (1889-1972) is devoted. Sougez’s rise to the ranks of the masters of photography and his celebration until the 1950’s as one of the greatest living French photographers, is largely due to his reintroduction of the use of a large format view camera and contact prints. Thus, this study brings to light another facet of the renaissance of photography in France, within the context of a forgotten figure, by assessing the crucial role that Sougez played between the First Independent Salon of Photography in 1928 and the last National Salon of Photography in 1959. Furthermore, in emphasizing the photographer’s contribution to his art, this thesis reveals previously unseen aspects of photography in the first half of the 20th century.