Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Breslau, 1932. / Vita. Includes bibliographical references (p. 142-146).

No description available.

Cette thèse propose une extension multi-dimensionnelle des liens entre mots sturmiens, fractions continues et reconnaissance de droite discrète. Les notions principales sont celles de substitution généralisée (ou application duale), de flip (une transformation élémentaire courante en mécanique statistique) et de fractions continues multi-dimensionnelles (algorithme de Brun). On montre notamment comment définir et calculer des développements en fractions continues de plans ou de surfaces discrets.

Diss.--Universität München, 2000. / Résumé en français. Bibliogr. p. 261-272.

Thèse--University de Paris.

Thesis--Copenhagen. / Summary in French. Bibliography: p. [509]-585.

Thèse--University de Paris.

Thesis--Copenhagen. / Summary in French. Bibliography: p. [509]-585.

Th. Ph. D.--History of art--London--Warburg institute, 1959. / Contient le texte de la conférence de Charles Le Brun.

This thesis examines the transformation in the representation of painters during Charles LeBrun's tenure as Life-Chancellor to the Academie Royale de Peinture et de Sculpture, from an initial definition in terms of the monarchy at Versailles to one founded on the practice of the art of painting. To promote the status of painters and painting, Louis XIV was celebrated as the protector of the arts in a royal portrait by Henri Testelin and was depicted as the ideal subject of art in paintings by Nicolas Loir and others. A painter's stature was then derived from the skillful manner in which he painted the history of the King. Engraved portraits accompanied by verse of Charles LeBrun and Adam Frans Van der Meulen identify allegorical painters as more distinguished than those who painted in a natural style. In both cases, Louis XIV is posited as being the source, subject, and eloquence of the art celebrating his achievements. Nicolas de Largillierre's Portrait of Charles Lebrun is modeled on Testelin's royal portrait and offers a portrayal of the artist which advocates service to the monarchy, but it grounds aesthetic activity in the body of the painter. This conception of LeBrun, in turn, serves as a paradigm for Pierre Mignard to create a self-portrait that proclaims his status in relation to the art of painting rather than through service to the King.