Jean-Baptiste Isabey (1767-1855) connaît une carrière exceptionnellement longue qui s’étend de la Révolution au Second Empire. Après avoir exposé ses premières œuvres au Salon de 1791, cet élève de Jacques-Louis David s’impose sur la scène artistique du Directoire comme le premier dessinateur et miniaturiste de son temps. En s'inscrivant dans un contexte favorable à la diffusion de portraits de moindre coût et de moindre format, sa réussite peu commune rend compte de l'évolution des critères de la reconnaissance artistique à la fin du XVIIIe. Elle témoigne également de la promotion du statut social de l'artiste autour de 1800. Lié aux proches du clan Bonaparte sous la Consulat, Isabey est un des portraitistes de la période les mieux introduits auprès des élites. Son habileté à exploiter des sujets qui répondent aux goûts de ses contemporains permets de mesurer l'importance des relations mondaines dans la naissance et la diffusion des réputations artistiques au tournant du XIXe siècle. Entre 1800 et 1805, Isabey est l'auteur de plusieurs grands dessins de propagande qui scandent les principales étapes de la consolidation du nouveau pouvoir. Familier de la noblesse impériale, l'artiste accumule honneurs et commandes officielles au lendemain du Sacre. Sa réputation est associée aux portraits miniatures de l’Empereur destinés à la caisse des présents diplomatiques et à quelques-unes des plus célèbres représentations officielles de Marie-Louise et du roi de Rome. Ses responsabilités sont extrêmement variées et sa production considérable : il est à la fois peintre des relations extérieures, dessinateur du cabinet et des cérémonies et décorateur en chef de l'Opéra. L'étude de ce parcours pluridisciplinaire offre un champ d'étude remarquable, qui nous fournit bien des clefs pour comprendre la carrière et le statut des artistes de cour sous l'Empire. Après Waterloo, Isabey est mis à l’écart du pouvoir en raison de ses engagements bonapartistes. L'artiste exécute alors plusieurs caricatures et portraits qui le montrent prompt à critiquer la monarchie restaurée. L'analyse des effets de la résistance au régime royaliste dans le monde des arts entre 1815 et 1820 aide à saisir le sens de son engagement dans l'opposition. La période qui s’ouvre au lendemain des Cent-Jours est également fondamentale pour comprendre le parcours artistique d'Isabey et pour apprécier la place que lui assignèrent ses contemporains dans l’art de la première partie du XIXe siècle. Son abondante production, qui se décline en miniatures sur vélin, dessins, lithographies, aquarelles et peintures à l’huile le montre soucieux de l'évolution du goût. Elle met aussi en lumière la difficulté qu'il éprouve à conserver sa réputation de portraitiste après 1820. Cette thèse fournit pour la première fois un catalogue de l’œuvre d'Isabey / Jean-Baptiste Isabey (1767-1855) had an exceptionally long career that spanned from the French Revolution until the Second French Empire. After his early works' exhibition at the Salon of 1791, this student of Jacques-Louis David rapidly became, on the art scene of the French Directory, the finest artist and miniaturist of his time. In a context that made the dissemination of low-cost and small-sized portraits easier, his unusual success reflects the change of artistic recognition criteria in the late eighteenth century. It also reflects the improvement of the social status of artists around 1800. Linked to people that were close to Bonaparte under the French Consulate, Isabey is one of the period's best introduced portraitists. His cleverness in using themes that meet his contemporaries' tastes clearly shows how important social relationships can be in the making and spreading of artistic reputations at the turn of the nineteenth century. Between 1800 and 1805, Isabey is the author of several large propaganda drawings that punctuate the main steps of the new power's consolidation. Familiar with the imperial nobility, the artist collects honours and official commissions in the wake of the Coronation. His reputation is associated with miniature portraits of the Emperor made for the fund of diplomatic presents and with some of the most famous official representations of Marie-Louise and of the King of Rome. His responsibilities are manifold and he produces a lot: he is the official painter for external relations, designer of the Cabinet, designer of Ceremonies and chief decorator of the Opera. The study of this multidisciplinary career gives many keys to a better understanding of the career and status of court artists under the Empire. After Waterloo, Isabey is sidelined because of his bonapartist commitments. At this time the artist performs several caricatures and portraits where he clearly criticizes the freshly restored monarchy. Analysing the effects of this resistance to the royalist regime in the world of arts between 1815 and 1820 helps in understanding his commitment to the opposition. The period opening in the aftermath of the Hundred Days is also fundamental to understanding Isabey's artistic career and to appreciate the place he was assigned by his contemporaries in the art of the first part of the nineteenth century. His prolific output, which comes in miniature on vellum, drawings, lithographs, watercolours and oil paintings shows his constant concern about changing tastes. It also highlights the difficulty he has to maintain his reputation as a portraitist after 1820.This thesis provides for the first time a catalogue of Isabey's works

This study demonstrates how royal portraiture functioned during the Revolutionary and Napoleonic wars as a vehicle for visualizing and processing the contemporary political upheavals. It does so by considering a notion of the 'sovereignty of the portrait', that is, the semiotic integrity (or precisely the lack thereof) and the material territory of royal portraiture at this historical juncture. Working from an assumption that the precariousness of sovereignty which delineated the Revolutionary and Napoleonic wars goes hand in hand with the precariousness of representation during the same period, it reframes prevailing readings of royal portraiture in the aftermath of the French Revolution by approaching the genre less as one defined by the oneway propagation of a message, and more as a highly unstable intermedial network of representation. This theoretical undertaking is refracted through the figure of Maria Carolina, Queen of Naples (1752-1814), close sister and foil to Queen Marie- Antoinette of France, and who, as de facto ruler of the Kingdom of Naples, physically survived revolution but was twice dethroned and thrice exiled. A diverse ecology of royal portraiture revolving around Maria Carolina is presented across five case studies. Close attention to the materiality of a hyperrealistic wax bust of Maria Carolina reveals how portraiture absorbed the trauma of the French Revolution; Maria Carolina’s correspondence in invisible ink is used as a tool to read a highly distinctive visual language of 'hidden' silhouettes of sovereigns and to explore the in/visibility of exile; a novel reading of Antonio Canova's work for the Neapolitan Bourbons through the lens of contemporary caricature problematizes the binary between ancien régime and parvenue monarchy; and a unique miniature of Maria Carolina offers itself as a material metaphor for post-revolutionary sovereignty. Finally, Maria Carolina’s death mask testifies to how Maria Carolina herself became a relic of the ancien régime.

This thesis analyses caricatures of modern art in France and Bohemia in the period from 1911 to 1918. The author has set a goal to show diverse perspectives on modern art and artists on the basis of caricatural drawings that were published in humoristic magazines during the targeted period. Specifically, the aim of this study is to understand the actual perception of avant-garde art, especially of cubism, in Bohemia and France. At first the thesis overviews the available literature referring to this topic to later discuss the evolution of caricature. Thought the study the focus is drawn to development of one specific genre within caricature art - caricature of visual arts - plus the tradition of "caricatural salons" in the 19th century. The following chapter deals with the meaning of an image and chosen humoristic periodicals in the years of 1911-1918. The body of this paper, however, aims to present general chronological background together with major topics present in modern caricature both before the First World War and during the changes resulting from wartime. At the same time this chapter compares and contracts Czech and French caricature of modern art. The following chapter devoted to the interpretation of caricatures on the basis of the theory of laugh by Henry Bergson and Sigmund Freud's...

The aim of this diploma thesis is the comparison between cartoons published in two wide-nation newspapers by examples of major political events in Czechoslovakia between 1945 - 1948. In order to achieve this objective I used a comparative-historical method. I deliberately worked with issues that had divided the public and political representation. I focused on inequality in the way of exposing and selection of the content of cartoons. The Selection of newspapers was not random, because representativeness was my main criterion. Svobodné slovo was based on the tradition of the party list and its contents were corrected by the party leadership of the Czechoslovak National Socialist Party, which formed together with the Czechoslovak People's Party internal opposition to the Czechoslovak Communist Party in the National Front. Daily Práce was a new paper which represented the views of the Central Council of Trade Unions, which were initially under the strong influence of the Communists. Práce belonged to a wide block of the media who supported the policy of the Communists. I have divided the referenced period 1945 - 1948 into three consecutive time-related phases. I defined the first section with year 1945. For this period enthusiasm stemming from the liberation from Nazi and the belief in a better...

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Cette thèse analyse la manière dont le discours satirico-humoristique se constitue lorsqu’il cible la figure présidentielle, en se focalisant sur des dimensions de contenu et de forme qui le structurent, et en faisant attention à leur articulation. A partir d’une étude biculturelle (France-Argentine), qui vise à la conceptualisation d’un humour transculturel, nous supposons qu’au-delà des spécificités locales, il est possible de parvenir à une grammaire, et donc à un système d’invariants, constituée des codes verbaux et visuels.Suivant une approche basée sur les sciences de l’information et de la communication, nous intégrons des perspectives théoriques et méthodologiques complémentaires pour analyser deux corpus de titres et d’images (caricatures politiques à une ou plusieurs vignettes) de l’hebdomadaire Le Canard enchaîné et du supplément Sátira/12 qui portent sur Jacques Chirac et Carlos Menem respectivement, à des moments de grande importance politique pendant leurs deux mandats. / This thesis analyzes the satirical humour discourse that aims at the presidential institution, by focusing on how its content and form are constituted and interrelated. Based on a bicultural approach (France-Argentina) aiming to contribute to the conceptualization of transcultural humour, we put forward that beyond local specificities, it is possible to construct a grammar, or a system of invariants, constituted by verbal and visual codes.Following an approach based on information and communication sciences, we merge different theoretical and methodological perspectives to analyse two corpora of titles and images (political cartoons and strips), from the weekly Le Canard enchaîné and the weekly newspaper supplement Sátira/12, that deal with Jacques Chirac and Carlos Menem, respectively, at moments of great political importance of their two presidential terms. / En este trabajo abordamos la construcción de la imagen mediática del ex presidente JacquesChirac en el semanario satírico francés Le Canard enchaîné, centrándonos en los rasgos depersonalidad que el periódico atribuye al personaje. Nuestro corpus está conformado por 234títulos que tratan sobre el mandatario en cuatro períodos de análisis seleccionados por suimportancia en el contexto político de Francia a lo largo de sus dos mandatos. Realizamosinicialmente un análisis de discurso y un análisis de contenido de los títulos con el fin deidentificar y clasificar los rasgos de personalidad y detectamos que la mayoría son negativos.Acto seguido, aplicamos un test χ² que nos permitió determinar la existencia de unadependencia entre los rasgos negativos y los períodos analizados. Un Análisis Factorial deCorrespondencias Simples posibilitó identificar tres grupos con algunas modalidadesasociadas. La decisión de conformar estos grupos fue luego confirmada por un Análisis deClasificación Jerárquica. Los rasgos agrupados según un ethos preponderante constituyenaspectos nucleares en la figura de un Presidente y su variación a lo largo de los cuatroperíodos analizados no responde a un criterio cronológico sino que parece guardar relacióncon las vicisitudes del escenario político.

The simplicity principle posits that we interpret sense data as the simplest consistent distal cause, or that our high level perceptual representations of stimuli are optimized for simplicity. The traditional paradigm used to test this principle is coding theory, where alternate representations of stimuli are constructed, simplicity is measured as shortness of representation length, and behavioural experiments attempt to show that the shortest representations correspond best to perception. In this study we apply coding theory to marker-based human walking motion. We compare two representation schemes. The first is based on marker coordinates in a body-centred Cartesian coordinate system. The second is based on a model of 15 rigid body segments with Euler angles and a Cartesian translation for each. Both of our schemes are principal component (PC)-based implementations of a norm-based multidimensional object space – a type of model for high level perceptual schemes that has received attention in the literature over the past two decades. Representation length is quantified as number of retained PC’s, with error increasing with discarded PC’s. We generalize simplicity to efficiency measured as error across all possible lengths, where more efficient schemes admit less error across lengths. We find that the Cartesian coordinates-based scheme is more efficient than the Euler angles and translations-based scheme across a database of 100 walkers. In order to link this finding to perception we turn to the caricature effect that subjects can identify caricatures of familiar stimuli more accurately than veridicals. Our design was to compare walker caricatures generated in our two schemes in the hope of finding that one gives caricatures that benefit identification more than the other, from which we would conclude the former to be a better model of the true perceptual scheme. However, we find that analogous caricatures between the two schemes are only distinguishable at caricature levels so extreme that identification performance breaks down, so our design became infeasible and no conclusion for a simplicity principle in walker perception is reached. We also measure a curve of increasing then decreasing identification performance with caricature level and an optimal level at approximately double the distinctiveness of a typical walker. / Thesis (Master, Neuroscience Studies) -- Queen's University, 2010-10-29 19:16:39.943

Submitted by Marissa Gorberg (marissagor@gmail.com) on 2018-03-06T19:27:14Z No. of bitstreams: 1 Tese Belmonte_Marissa Gorberg_CPDOC pos defesa PDF.pdf: 36644596 bytes, checksum: 196448df1a2e93a331fdbd9906eac71b (MD5) / Approved for entry into archive by Kelly Ayala (kelly.ayala@fgv.br) on 2018-04-02T19:56:20Z (GMT) No. of bitstreams: 1 Tese Belmonte_Marissa Gorberg_CPDOC pos defesa PDF.pdf: 36644596 bytes, checksum: 196448df1a2e93a331fdbd9906eac71b (MD5) / Made available in DSpace on 2018-04-02T19:56:21Z (GMT). No. of bitstreams: 1 Tese Belmonte_Marissa Gorberg_CPDOC pos defesa PDF.pdf: 36644596 bytes, checksum: 196448df1a2e93a331fdbd9906eac71b (MD5) Previous issue date: 2018-01-11 / In the 1920s, amidst the growth of megacities and the proliferation of media and their audience,artist-intellectuals introduced new forms of expression in tune with this emerging modernity.During that period, Belmonte—a cartoonist, illustrator, chronicler, historian, poet, and painter fromSao Paulo—published in the Rio de Janeiro magazines Careta and Frou-Frou a collection ofcartoons that expressively depicted the daily life of the urban elites in both public and privatesettings. Belmonte applied an ironic and satirical lens to archetypes of gender, fashion, and socialnorms, as well as encounters in a myriad of domains to highlight the complexities and tensions thatpermeated the relations of that social group.The objective of this work is to provide a reading of these cartoons, simultaneously as source andobject, as expressions of our peripheral modernity. We utilize the concept of representationtogether with analytical techniques from cultural history as methodological tools, aiming to mapideas, values, and practices of that time period. The cartoons reveal themselves as a starting pointfor reflection about a way of life that finds much resonance with the present day, twistingconventions, aspirations and the genealogy of several behaviors. / Nos anos 1920, os intelectuais-artistas inauguravam formas de expressão sintonizadas com um projeto de modernização que ganhava corpo em meio ao crescimento das metrópoles, dos meios de comunicação de massa e da ampliação de seu público. O paulistano Belmonte — que encarnou uma multiplicidade de funções como caricaturista, ilustrador, cronista, historiador, poeta e pintor — publicou, naquele período, um expressivo conjunto de caricaturas nas revistas cariocas Careta e Frou-Frou que retratavam o cotidiano da burguesia metropolitana no ambiente privado e no espaço público. As transformações dos arquétipos de gênero, da moda, dos rituais de sociabilidade, os encontros entre uma multiplicidade de domínios, eram alguns dos temas contemplados sob o recurso da ironia e da sátira, evidenciando complexidades e tensões que permeavam as relações daquele grupo social. O objetivo desse trabalho é empreender um exercício de leitura dessas caricaturas, simultaneamente como fonte e objeto, entendidas como uma das faces da nossa modernidade periférica. Utilizaremos o conceito de representação conjugado a estratégias de análise do campo da história cultural como ferramenta metodológica, visando a mapear ideias, valores e práticas presentes naquele momento. As caricaturas se revelam como ponto de partida para propor uma reflexão sobre a construção de determinado modo de vida que encontra ressonâncias na contemporaneidade, desnaturalizando convenções, aspirações e a genealogia de uma série de comportamentos.

The thesis focuses on the contacts between Czechoslovakia and the Soviet Union, specifically in the area of the 1930s fine arts. This topic has been mapped from 1930 to 1938 (before the Munich Agreement). The first part of the text deals with the historical-political background of that period and cultural relations between the two countries with emphasis on fine arts. Specific manifestations of these relations can be found in the next part of the thesis, using analysis and comparison of the Czechoslovak printed periodicals and archival documents, especially political news and correspondence. This thesis focuses mainly on realized art exhibitions and their reflections. All of this has been set into the historical and political context, thus achieving a comprehensive description of the topic. Key words Czechoslovakia, Graphic Arts, Caricature, Catalogue, Contacts, Printed Periodical, Political News, the Soviet Union, 1930s, Fine Arts, Art Exhibition.

This diploma thesis focuses on the analysis of caricatures with a theme of the Eastern block in French satirical weekly magazine Le Canard enchaîné in 1945-1970. By the Eastern block, we understand the Soviet Union and its associated socialistic countries. The thesis is anchored in the theoretical part by historical context of the history of the eastern countries, as well as by the development of analysed weekly magazine on the background of the history of France, by the formulation of the concepts of caricature and satire, including important authors, and the research methods themselves. Triangulation, in this case the combination of quantitative content analysis and semiotic analysis, aims to analyse individual caricatures with the theme of the East and its individual countries. The analysed periods are divided into two sections, due to the availability of materials, namely 1945-1948 and 1968-1970.