Diss.--Philosophische Fakultät--Universität Münster, 1992. / Bibliogr. p. 416-441.

Texte remanié de: Dissertation--Philosophischen Fakultät--Kiel--Christian-Albrechts-Universität, 1992. / Bibliogr. p. 151-169 (vol. 1).

Dissertation--Saarbrücken, 1999. / Bibliogr. p. 251-272.

Proefschrift--Rijksuniversiteit te Leiden, 2000. / Résumé en néerlandais. Bibliogr. p. 215-224.

Diplomarbeit--Ur- und Frühgeschichte--Kiel--Christian-Albrechts-Universität, 2005. / Bibliogr. p. 95 -99.

This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence. / Department of Art

Thèse--Lettres--Paris I, 1979. / Bibliogr. t. 2, p. 1127-1154. Index.

Thesis (Ph. D.)--University of Umeå, 1986. / Includes bibliographical references (p. 188-194).

Au début du XIXe siècle, plusieurs fabricants de bronzes parisiens décident de s’allier et de fonder une société : la Réunion des fabricants de bronze. Héritière de l’ancienne corporation des fondeurs, la Réunion propose un nouveau modèle de groupement professionnel pour accompagner les transformations contemporaines et le développement sans précédent que connaît l’industrie du bronze entre 1839 et 1870. Portées par des innovations techniques, telle que l’invention de la machine à réduire, de nouvelles questions commerciales, juridiques et esthétiques, se posent alors aux acteurs de cette industrie. Comment promouvoir les productions parisiennes sur un marché de plus en plus international ? Comment lutter activement contre la contrefaçon des modèles qui sévit ? Comment faire reconnaître la valeur esthétique d’ouvrages relevant tant de l’art que l’industrie ? Dans une société marquée par la multiplication des images et des objets, à un moment où le souci de la démocratisation de l’art devient un enjeu politique, l’édition de sculptures participe à la constitution d’une culture visuelle tout en posant les prémisses d’une conception du multiple comme œuvre d’art. À travers l’étude de la Réunion, de son fonctionnement et, plus spécifiquement, de son rôle de tribunal arbitral, l’enjeu de cette thèse est de comprendre comment les actions pour la reconnaissance juridique du caractère artistique de productions industrielles s’articulent avec une conception spécifique de la reproduction comme création. / In the early nineteenth century, several Parisians bronze’s manufacturers decided to join their forces and based a society: the Bronze Manufacturers Union. Heir to the old guild founders, the Union offers a new model of professional association to accompany the contemporary transformations and the important development of the bronze industry between 1839 and 1870. Supported by technological innovations such as the invention of the sculptures’ reducing machine, new commercial, juridical and aesthetical issues arise to industry protagonists. How to promote the Parisian productions in an internationalized market? How efficiently fight against models counterfeit? How to recognize the aesthetic value of works involved in both art and industry? When democratization of art becomes a political issue, sculptures edition take part of the creation of a visual culture and establishes principles of multiple in art. Through the study of the Union organization and, more specifically, its role of arbitral court, the goal of this thesis is to understand how the actions for the legal recognition of industrial productions as artworks is relate to the idea that reproduction could be a creation.

O experimento teve como objetivo o desenvolvimento de uma bucha de bronze ao alumínio de alta dureza através do processo de metalurgia do pó e endurecimento por precipitação. Iniciou-se pela definição da liga de bronze equivalente que atingiria os resultados obtidos pelo processo de fundição, ou seja, dureza final acima de 190 HB. Foram elaboradas ligas por metalurgia do pó com cobre como base e alumínio, sendo que a utilizada no processo de fundição não apresentou bons resultados na adaptação para a sinterização. Foram realizados ensaios de compactação visando a maior densidade à verde possível para as respectivas ligas. A sinterização das peças foi feita à temperatura de 885ºC em atmosfera de nitrogênio e hidrogênio até a obtenção de peças com maior resistência e menor variação dimensional. Um fator importante observado foi que o acréscimo de lubrificante na mistura prejudicou a sinterização das peças, resultando em peças com baixa resistência mecânica. Dentre as ligas de bronze estudadas, a que apresentou melhor resistência mecânica e menor variação dimensional foi a liga 81Cu - 11Al - 4Fe - 4Ni. Após a sinterização, realizou-se de ensaios de solubilização com temperaturas próximas do ponto de fusão da liga e sem atmosfera. Verificou-se que houve um crescimento máximo da dureza para a temperatura de 670 ºC, havendo decréscimo após esta temperatura. Posteriormente, as peças que sofreram maior endurecimento resultante da solubilização foram submetidas à precipitação por envelhecimento artificial. Os resultados obtidos após o envelhecimento comprovaram que houve a formação dos precipitados endurecedores e o tratamento térmico do bronze ao alumínio atingiu resultados satisfatórios em relação aos parâmetros especificados. Foram obtidas durezas acima de 150 HB. / The experiment had the development of the aluminum bronze bush with high hardness by the metal powder process and precipitation hardening as target. The development was begun by the definition of the bronze alloy which would reach the results of the casting process, hardness up to 190 HB. Different alloys were prepared by powder metallurgy, and the alloy used in the casting process did not have success in adapting to the sintering. The compaction tests were carried out seeking the highest green density for the respective alloys. The sintering of the parts was done at 885ºC and nitrogen/hydrogen atmosphere to obtain the product with greater resistance and less dimensional variation. An important factor observed was that the addition of lubricant damaged the sintering of the parts, resulting in low mechanical strength. Among the bronze alloys studied, the 81Cu - 11Al - 4Fe - 4Ni alloy was chosen by having the best mechanical strength and less dimensional change. After sintering, the solution heat treatment was performed at temperatures near of the alloy’s melting point and no atmosphere. It was found that there was a maximum increase of the hardness at 670ºC, decreasing after this range. Subsequently, the samples which suffered further hardening results from the solution heat treatment were submitted to precipitation heat treatment. The results showed that after the precipitation heat treatment the hardening precipitates were created and the heat treatment of aluminum bronze reached satisfactory results for the specified parameters. Hardness over 150 HB were obtained.