A presente tese se propõe a fazer uma leitura mais acurada do manuscrito - Da Fabrica que falece a cidade de Lisboa (1571), de autoria do arquiteto iluminador Francisco de Holanda, inédito até meados do século XIX, quando foi descoberto pelo conde Athanasius Raczynski (1788-1874), na Biblioteca de Jesus em Lisboa, resgatando o artista-teórico do anonimato para ser devidamente reconhecido pela historiografia da arte e da arquitetura, como figura central para a compreensão dos novos valores estéticos propostos em Portugal no século XVI. Esta pesquisa enfoca particularmente a relação entre arquitetura e cidade presente no manuscrito que reúne, nas -lembranças, uma série de imagens destinadas a conferir um perfil monumental a Lisboa, cidade capital do reino e modelo para as principais colônias portuguesas. Nosso novo olhar sobre Da Fabrica que falece procura verificar a hipótese de que o manuscrito deva ser interpretado como um memorial de arquitetura aplicado à cidade, onde o arquiteto elabora imagens retóricas para promover a Renovatio urbis de Lisboa. Como - Rainha de um vasto império português a capital deveria ser transformada à imagem da magnificência da Roma Antiga e imperial, um topos que já vinha sendo reiterado nas principais cortes italianas entre os séculos XV e XVI e que nas palavras de Holanda assume um tom muito particular. Os ensaios destacam a importância assumida por Holanda, enquanto arquiteto conselheiro régio, que interpreta as aspirações artísticas e políticas conflitantes da corte de D. João III (1521-1557) e D. Sebastião (1568-1578). E em função das experiências vivenciadas na Itália, sobretudo em Roma, Florença e Veneza, através de levantamentos, do estudo da Antiguidade, da arquitetura Imperial e do contato mantido com artistas italianos ele propõe a renovação da cidade capital decalcada no modelo antigo. Nossa pesquisa começa com apresentação do manuscrito original (1571) e, na seqüência, sua primeira edição por Luiz Joaquim dos Santos Marrocos (1814), feita a pedido do Príncipe Regente D. João VI, no Rio de Janeiro, com anotações e comentários. A seguir o trabalho recolhe elementos destacando Francisco de Holanda, homem da corte, das letras e da arte no século XVI; Francisco de Holanda e Da Fábrica que falece a cidade de Lisboa um programa para a Renovatio urbis. / This thesis proposes an accurate reading of the manuscript - Da Fabrica que falece à cidade de Lisboa (1571), authored by illuminator architect Francisco de Holanda, unpublished until the mid-nineteenth century, when it was discovered by count Athanasius Raczynski (1788-1874), in the Library of Jesus in Lisbon, redeeming the artist-theoretical from the anonymity to be properly by the historiography of the art and of the architecture, as central figure for e understanding of the new aesthetic values proposed in Portugal in the 16th century . This survey focuses particularly on the relationship between architecture and city in the manuscript that brings together, in the \"memories\", a series of images to give a monumental profile to Lisbon, the capital city of the Kingdom and template for the main Portuguese colonies. Our new vision on Da Fabrica checks the hypothesis that the manuscript should be interpreted as a memorial of architecture applied to the city, wherein the architect prepares rhetorical images to promote the Renovatio urbis of Lisbon. As - Queen of a vast Empire Portuguese capital should be transformed to the image of the magnificence of ancient Rome and imperial, a topus that had already been reiterated in the main Italian courts between the 15th and 16th centuries and which in the words of Holanda takes a tone very particular. The tests highlight the role played by Holanda, while architect-regal Councilor, which interprets the artistic and politic aspirations conflicting of court of D. João III and D.Sebastião. And in light of experiences experienced in Italy, especially in Rome, Florence and Venice, through surveys, the study of antiquity, Imperial architecture and the contact maintained with Italian artists he proposes the renewal of the capital city inspired on the old template. Our research begins with the presentation of the original manuscript (1571) and, in the sequence, its first edition by Luiz Joaquim dos Santos Marrocos (1814), done at the request of the Regent prince D. João VI, with annotations and comments. The following work collects elements highlighting Francisco de Holanda, courtly, letter and art man Francisco de Holanda and Da Fabrica que falece à cidade de Lisboa, a program to the Renovatio urbis of Lisbon.

Made available in DSpace on 2014-07-29T16:17:44Z (GMT). No. of bitstreams: 1 Dissertacao Leo Carrer historia.pdf: 783870 bytes, checksum: 1f48e1f44ce8cac67a38e789060c933d (MD5) Previous issue date: 2009-05-05 / As a hybrid religion, Umbanda has elements of different sources in its daily practices. Thus, it doesn t have, necessarily, a single and centralized doctrine, in spite of several leaders had tried to impose a unified doctrine to it. That was one of the roles of several Umbanda Federations during the 20th century. Another role was to protect the shrines against the persecutions and repressions made by the State, Catholicism and the press. Therefore, the federations tried to protect the shrines and, on the other hand, they tried to control and centralize the religion, in its doctrines and socially. In the state of Goiás such control was held by the Umbanda and Candomblé Federation of Goiás, established in 1969 in Goiânia City. This dissertation, therefore, has as main objective to analyze the path of the religion in Goiânia, focusing its origins; the action of the Federation; as well as the conflicts and tensions created between it, the State repressive apparels and the shrines, from 1948 until 2003, when Goiânia was the scenario of a public repudiation of Umbanda, by some neo-Pentecostal churches against the exposition of seven sculptures depicting Orixás in a park of the city, which is known as Vaca-Brava Episode / Como religião híbrida, a Umbanda agrega elementos de diferentes matrizes religiosas em sua prática diária. Isto faz com que ela não tenha, necessariamente, uma doutrina única e centralizada, apesar de vários líderes já terem tentado impor a ela uma doutrina unificada. Este foi um dos papéis das várias Federações de Umbanda surgidas no Brasil ao longo do século XX. A outra função seria a de proteger os terreiros contra as perseguições e repressões por eles sofridas, por parte do Estado, do catolicismo e da imprensa. Assim, enquanto de um lado as federações tentavam proteger aos terreiros, de outro elas mesmas exerciam um controle e buscavam centralizar a religião, tanto social quanto doutrinariamente. Em Goiás tal poder foi exercido pela Federação de Umbanda e Candomblé de Goiás, surgida em 1969 na cidade de Goiânia. Nosso trabalho, portanto, tem por objetivo analisar a trajetória da religião em Goiânia, tendo como foco suas origens, a ação da Federação, os conflitos e tensões criados entre ela, os aparelhos repressores do Estado e o terreiros, entre os anos de 1948 e de 2003, quando Goiânia foi palco de uma manifestação pública de repúdio à Umbanda, protagonizada por algumas igrejas neo-pentecostais ao protestarem contra uma exposição de vários Orixás em um parque da cidade, caso que ficou conhecido como Episódio Vaca-Brava

Ritos de magia e sobrevivência tem como tema central as manifestações mágico-religiosas em seus nexos com a história social do Brasil e de São Paulo dos últimos anos do século XIX às primeiras décadas do século XX. A temática foi sugerida inicialmente pelo nosso trabalho de mestrado e pela documentação criminal da segunda metade do século XIX que chamou a atenção para a importância de uma religiosidade difusa, no geral oriunda das crenças afro-brasileiras, no processo de luta contra a reificação pretendida pelo regime da dominação escravista e por seus efeitos no pós-Abolição. Impregnada na organização do dia-a-dia das populações urbanas e rurais, muitas delas oriundas da condição escrava, manifesta na ação de curandeiros, feiticeiros, pitonisas e benzedeiras, insinuou a força de uma sensibilidade religiosa que se transformava muitas vezes em componente essencial de processos cognitivos e de uma concepção de mundo capaz de fornecer os referenciais para que tais grupos pudessem pensar a sua condição social e se compatibilizar com a sociedade mais ampla. De outra parte, nos quadros das transformações que se operavam no período, não se tratava de uma simples permanência de ritos e crenças, em continuidade com as tradições do catolicismo popular e dos ritos afro-brasileiros, mas de um processo de acentuada revivescência das mais variadas correntes de pensamento mágico e místico, denotando em outros termos os ritmos e as direções dos processos históricos em curso. A história da cidade nessa época, marcada pelo crescimento espantoso do número de habitantes, vinha inscrita também no alastramento das vertentes do pensamento espiritualista: a difusão do espiritismo, as teorias e práticas relacionadas ao magnetismo animal, a ciência do ocultismo, a quiromancia e a cartomancia mesclavam-se às tradições existentes e acabavam por moldar práticas e figuras multifacetadas. Além disso, aludiam ao clima de insegurança social, à mobilidade de contingentes populacionais imigrantes, migrantes e negros, às oscilações implícitas nos processos históricos em curso e, indiretamente, ofereciam um quadro revelador do custo social da urbanização e da modernização. Emprestando os termos de Oswaldo Xidieh (1944), senhores e senhoras em idade provecta, negras velhas e macumbeiros, parteiras e carolas, curandeiros e benzedeiras, rezadores e tiradores de cobra, capelães e cozinheiras, amas-secas e mumbavas, crias e cantadores, folientos do Divino, penitentes andarilhos e beatas são os sujeitos desse estudo. / This thesis, Ritos de magia e sobrevivência, is focused on magical-religious manifestations in its links with Social History of Brazil and São Paulo in the last years of the nineteenth century to the early decades of the twentieth century. The theme was originally suggested by our previous research based on criminal documentation of the second half of the nineteenth century that drew attention to the importance of a diffuse religiosity, in general originated from the African-Brazilian beliefs, in the struggle against reification intended by slavery and their effects on post-Abolition. Steeped in the organization of everyday life of urban and rural populations, many of them coming from the slave condition, manifested in the action of healers, shamans, and pythoness, the strength of a religious sensibility became an essential component of cognitive processes and a conception of the world able to provide references for such groups could think about their social status and be compatible with the wider society. On the other hand, in the frames of transformations operated in this period, in continuity with the traditions of popular Catholicism and African-Brazilians rites, in a stead process of revival of the most various currents of mystical thought and magic, the religious dimension denote in other terms the historical process in progress. São Paulo´ History at this time, marked by phenomenal growth in the number of inhabitants, was also marked by the spread of spiritual strands of thought: the diffusion of spiritualism, the theories and practices related to Animal Magnetism, the Occultism, the Cartomancy mixed with ancient traditions and practices and ultimately shape different figures. Moreover, allude to the climate of social insecurity, the mobility of population groups of immigrants, migrants and blacks population, and also fluctuations implicit in ongoing historical processes, reveal indirectly the social cost of urbanization and modernization. Borrowing the terms of Oswaldo Xidieh (1944), \"lords and ladies in ripe age, old black and macumbeiros, pious and midwives, healers and faith healers, chanters, chaplains and cooks, nannies and mumbavas, and young singers , folientos the Divine, wanderers and penitents butts \"are the subjects of this study.

Cette thèse étudie l’implantation et l’action apostolique des jésuites dans la ville de Panama entre 1578 et 1671. Cette chronologie correspond à la création du premier domicile jésuite dans cette ville, et à la destruction de celle-ci par le corsaire anglais Henry Morgan. De passage à Lima où il allait établir la Compagnie avec quelques compagnons, Jéronimo Ruiz del Portillo, chef de l’expédition, arrive donc à Panama en 1568 dans le cadre de la route des Indes. Immédiatement, il écrit à François de Borgia, préposé général, pour lui demander de faire de cette ville une mission stable, et par-dessus tout, le siège de la Compagnie du Pérou. Face aux réticences de Borgia et de ses successeurs, c’est seulement en 1578 que deux jésuites s’y établissent avec le concours des bourgeois et des autorités locales, après une mission dans les montagnes de Bayano contre les Noirs marron. A travers l’étude croisée des sources de la Compagnie et celles de la monarchie, nous avons pu définir le type de domicile que les disciples d’Ignace de Loyola implantent à Panama d’abord en cette année 1578, puis en 1585. A partir de cette deuxième date, ils entremêlent les missions citadines et rurales au travers desquelles il est possible d’analyser les relations qu’ils nouent avec les oligarchies locales, avec la monarchie et avec les dirigeants de l’Ordre du Pérou et de Rome. L’étude de ces relations permet donc de mettre en évidence les agissements des jésuites dans la société coloniale panaméenne / This dissertation examines the establishment and the action of the jesuits in the city of Panama from 1578 to 1671. This chronology corresponds to the creaction of the first Jesuit house in this city, and to the destruction of this one by the English privateer Henry Morgan. On his way to Lima, where he was to set up the Compagny with a few companions, JéronimoRuiz del Portillo, chief of the expedition, arrived in Panama in 1568 as part of Indian Route. Immediately, he wrote to Francis de Borgia, general attendant, asking him to make this city a stable mission, and above all, the headquarters of the Peruvian Compagny. Faced with the refusal of Borgia and his successors, it was only in 1578 that two Jesuits settled there with the help of the bourgeois and the local authorities, after a mission in the mountains of Bayano against the maroons. Through the cross-examination of the sources of the Compagny and those of the monarchy, we have been able to define the type of domicile that the disciples of Ignatius of Loyola established in Panama first in this year 1578 and then in 1585. From this second date, they intermingled the urban and rural missions through wich it is possible to analyse the relations that they established with the local oligarchies, with the monarchy and with the leaders of the Order of Peru and of Rome. The study of these relations makes it possible to highlight the actions of the Jesuits in the Panamanian colonial society

Dans l’Espagne des XVIe et XVIIe siècles, le peintre est un personnage en construction. Souvent défini par l’idéologie qui le commande et les œuvres qui lui survivent, son geste semble perdu à jamais, ou figé sous la forme d’archétypes et d’allégories. L’autoportrait, genre naissant, témoigne de cette main, mais il reste loin de toute objectivité : « Le peintre, peintre de lui-même, dans la dépendance de ce que l’histoire charrie et porte, n’aurait-il été qu’un singe savant et dressé qui rabâche ? », se demande Pascal Bonafoux en conclusion de son étude sur Les peintres et l’autoportrait. Même dans le reflet direct que l’artiste offre de lui-même, les topiques s’immiscent : ils aident à son identification, au déchiffrage des chefs-d’œuvre et au balisage des chemins de la gloire. Cependant, ces figures ont une vie, et elles échappent parfois à l’évidence qu’on leur prête. À commencer par saint Luc, personnalité a priori idéale pour conduire les peintres vers la reconnaissance attendue dans l’élan contre-réformiste, mais qui doit compter avec Apelle, le maître grec dont l’excellence retentit depuis un sommet convoité. Ces légendes se diversifient et se ramifient dans le jeu métaphorique des mots, elles évoluent au gré de la revendication théorique et dévoilent leurs limites au moment de prendre corps. Leur fréquence, leur intensité et leurs croisements témoignent des voies empruntées afin de saisir le personnage du peintre, non pas sa psychologie, mais sa stature, libérale et noble. La focalisation sur la patte du peintre mythique, qui pousse dans l’ombre celle du singe imitateur, éclaire l’avancée de l’artiste dans le Siècle d’Or de la peinture espagnole. / In 16th and 17th century Spain, the figure of the painter is a work in progress. His gesture – often defined by the underlying ideology and by the pieces which will outlive it – seems lost forever or frozen into archetypes and allegories. The new genre of the self-portrait states the existence of the painter’s hand but without any objectivity: “Has the painter, painting himself, been nobody but a performing trained monkey rambling on?”, Pascal Bonafoux wonders in the conclusion of his study Les peintres et l’autoportrait. Topics creep in even in the direct reflection the painter offers when painting himself: they help identify him, decipher the masterpieces and mark out the way to glory. However, those topics live and sometimes escape the obviousness one tends to see in them. Starting with St Luke, who should be the ideal one to lead the painters towards the recognition expected in the wake of the anti-reformation movement, but who has to reckon with Apelles, the Greek master whose excellence resounds from a much-envied summit of fame. Those legends become diverse and ramified through the metaphoric game of language, evolve according to theoretical claims and show their limits when given substance. Their frequency, intensity and conjunctions bear witness to the ways one follows to grasp the figure of the painter – not his psychology but his stature, liberal and noble. The focus on the painter’s touch – which relegates the gesture of the copying monkey to the shadows – sheds a light on the artist’s progression in the Golden Age of Spanish Painting

The thesis is about what the buildings at manor estates, vicarages and farms looked like and how they changed during the agrarian revolution of the 18th and 19th centuries. Through new clearings, mechanisation, land partition, and increased work distribution and specialisation, production increased vigorously during the period, which generally caused an increase in prosperity and lay the foundation for the subsequent industrial revolution. The aim was to study how houses and outbuildings were affected by changes in agriculture, household composition and work organisation, an area which to date has been relatively unexplored. The study, which was based on conditions in Lagunda, a flat-country town in central Sweden, shows that there has been both change and continuity in building developments. The buildings became increasingly larger as arable land acreage and livestock numbers increased, and they were also gradually rendered more efficient to facilitate production. The increase in profit led in turn to an increase in the standard of living and both houses and outbuildings were increasingly lavishly built. However the increasingly larger and better buildings were not only a product of improved economy but also a response to the increasing need for manifestation felt by the manor owners, clergymen and farmers whereby they could clearly mark their positions in relation to each other and to a growing class of non-propertied people. The boundaries between family and employee, as well as between ‘clean’ and ‘dirty’ functions, were all the more clearly demarcated, both indoors and outdoors. Even if the changes were considerable on the whole, there was a clear line of continuity. Household reproduction was the primary aim and providing for the family could not be jeopardised, which explains why most changes took place in small steps at a time.

Occupant une place majeure dans les intérieurs, les miroirs se sont progressivement imposés comme un décor d’architecture à part entière dans les pièces privées, puis dans les pièces de réception des grandes demeures aristocratiques européennes aux XVIIe et XVIIIe siècles. Le propos de la présente thèse est d’éclairer non seulement le développement des miroirs en tant que décoration fixe, mais aussi leur utilisation dans de véritables mises en scène architecturales. Envisagé sur un temps long de deux siècles et dans une aire géographique conséquente (France, Italie, Espagne, Allemagne, Autriche, Suède), ce travail débute par une étude du développement de ces décors au XVIIe siècle, en interrogeant le rôle de la France dans la définition et la circulation des modèles en Europe. Puis, dans un second temps sont étudiées les typologies de cabinet et de galerie de glaces, pièces les plus concernées par ce type de décor. Enfin, la place des miroirs dans la pratique architecturale et leur rôle illusionniste dans les intérieurs sont traités dans une dernière partie. / Occupying an important place in the interiors, mirrors have progressively been an architectural decor in its own right in the private rooms, then in the reception rooms of the European great aristocratic houses in the XVII and XVIII centuries. The purpose of this thesis is to enlighten not only the development of mirrors as fixed decoration, but also their use in true architectural staging. Based on a two century scale and a substantial geographic area (France, Italy, Spain, Germany, Austria, Sweden), this work starts by a study of the development of these decors in the XVII century, by questioning the role of France in the definition and the circulation of models in Europe. Then, it focuses on the typologies of mirror cabinet and galleries, the most affected rooms by this kind of décor. Finally, in the last section, the mirror place in the architectural practice and their illusionist role in the interiors are studied.

Ce travail est un portrait croisé de deux médecins modernes établis en milieux portuaires. D’un côté Paul-Victor Desèze (1754-1830) médecin catholique bordelais, de l’autre Benedetto Frizzi (1756-1844) médecin lombard de confession juive, installé dans le port de Trieste. Dans cette étude, il s’agit de comparer les pratiques de sociabilité des deux individus et d’identifier leurs principaux réseaux de relations afin de mettre en évidence la fonction centrale que tend à occuper le médecin dans les sociétés modernes et l’évolution de son statut. Pour ce faire, la première partie des recherches se concentrent sur la formation du médecin et son ancrage dans les sphères universitaires et scientifiques. Puis, la seconde phase du travail revient sur l’insertion et l’évolution du médecin dans la société civile et urbaine à travers sa fréquentation de lieux de sociabilité scientifiques, culturels ou politiques tels que les académies, les loges ou les sociétés. Ainsi, il est possible de constater que la figure du médecin devient un acteur protéiforme essentiel à la pérennité des sociétés modernes. A la fois actif et impliqué dans son environnement quotidien en étant très attaché à la diffusion de certains principes comme l’éducation, l’hygiène ou le progrès, il se fait aussi, à une plus grande échelle, le vecteur de notions plus universelles telles que la tolérance, la fraternité et le bonheur. Par conséquent, l’objectif final de ce travail est de reformuler et de repenser le concept de cosmopolitisme en donnant, à travers la figure du médecin, une nouvelle acceptation, concrète et effective de l’homme cosmopolite. / This study is a double portrait of 2 doctors settled in ports cities. In one hand Paul-Victor Desèze (1754-1830) a catholic doctor from Bordeaux, and, in an other hand Benedetto Frizzi (1756-1844) a jewish doctor from Lombardy, but living in Trieste. Our goal is to rebuild, to analyse the social practice of this 2 men and to identify their relationship networks in order to understand the central function of medicine end doctors in européen modern society. To tha end, the first part of the research focus on the medical training and the integration of the doctor in the academic and scientific areas. Then, the second part of the study focus on the doctor’s career development in modern society through their attendance to places like academies, club, salon, loge. So, we can state that the doctor is becoming an essential social player. He takes a really active part in his own social environment in order to fix daily issues and, at the same time, he convey new values like tolerance, brotherhood and happiness. To conclude, this comparative study has to show that, in the XVIIIe century, doctors develop a lifestyle that we could consider like an active demonstration of a cosmopolitan state of mind.

Cette thèse se focalise sur l’étude de quatre compositeurs chiliens contemporains de la seconde moitié du XXe siècle/début du XXIe (Cirilo Vila, Sergio Ortega, Patricio Wang et Andrés González), dont l’échelonnement générationnel permet d’embrasser un demi siècle de musique, et ayant pour dénominateur commun le fait d’avoir mené des carrières dans l’espace « euro-latinoaméricain ». La première partie de la thèse présente un panorama succinct de la musique savante chilienne dès l’indépendance du pays au XIXe siècle, en mettant l’accent sur le processus d’institutionnalisation de la vie musicale au pays, ainsi que sur les discours explicitement ou implicitement énoncés sur l’identité nationale/culturelle en musique. La deuxième partie analyse en détail, à travers une approche biographique, les parcours transnationaux et les œuvres des quatre compositeurs choisis, afin de comprendre, entre autres aspects, comment opèrent les processus de changement culturel à l’échelle d’une vie artistique. Enfin, la troisième partie présente une série d’études centrées sur l’analyse du rôle de passeurs culturels joué par les compositeurs chiliens (à la fois en tant que pédagogues et en tant que traducteurs de langages musicaux exogènes) ; l’impact de la circulation internationale et la globalisation ; les liens entre musique et politique, ainsi qu’entre art savant et populaire ; le rôle de la France et de l’Europe dans les processus d’acculturation ; les résultats du métissage culturel (à travers des cas concrets) ; ces études se complétant par une typologie des formes d’appropriation sonore opérés dans la musique de ces compositeurs. / This thesis focuses on the study of four contemporary Chilean composers from the second half of the 20th century and beginning of 21st century who developed their careers in the ‘euro-latin-american’ space (Cirilo Vila, Sergio Ortega, Patricio Wang, and Andrés González), and whose generational intersections allow to cover half a century of music. The first part of the thesis presents a brief panorama of Chilean concert music, from the independence of the country at the beginning of the 19th century until our days. The survey emphasizes the process of institutionalization of the musical life, as well as the implicit or explicit discurses, which are presented regarding the national cultural identity in relation to music. The second part analyzes in detail, through a biographical approach, the transnational trajectories of the four composers under study. The aim is to understand, among other aspects, how the processes of cultural change work at the level of a given artistic life. The third part, attempts to elucidate 1. the specificity of Chilean musicians through a multifactorial approach, presenting a series of studies towards analyzing the role of cultural transmitter performed by Chilean composers (within their double function as pedagogues and translators of exogenous languages); 2. the impact of the international circulation and the globalization on their works; 3. the links between music and politics as well as the links between high and popular art; 4. the role of France and Europe in the processes of acculturation; 5. the results of cultural hybridization (through concrete cases), and finally, 6. a typology of the ways of sonic appropriation.

A travers quelles modalités la peinture d’histoire se transforme-t-elle sous le règne de Louis XIV ? La peinture d’histoire connaît une évolution durant la période qui couvre la seconde partie du règne de Louis XIV. Ce changement résulte à la fois de modifications liées à l’évolution des commandes royales et à celle du cadre académique lui-même, ainsi qu’aux mutations du contexte de création en dehors de l’Académie royale qui renouvelle la manière d’appréhender et de concevoir la peinture d’histoire. A partir de l’étude et de l’analyse de la production des peintres reçus comme peintres d’histoire à l’Académie royale de peinture et de sculpture entre 1673 et 1694, cette thèse reconsidère les critères d’évolution du genre historique en peinture au tournant du XVIIe siècle. Sont d’abord étudiées la formation des artistes et la définition de la peinture d’Histoire au temps de cette formation (I). Puis vient l’analyse de la production de ces peintres pour l’Académie royale et pour le roi après leur agrément au sein de l’institution royale (II). Parallèlement, et pour mieux définir les caractéristiques de la peinture d’histoire de cette période, l’étude de la production pour les particuliers et les institutions religieuses, soit en dehors de l’Académie royale, viendra remettre en cause la vision historiographique selon laquelle cette peinture émane d’une crise et éclairer ses nouvelles voies de transformation, en particulier à travers l’hybridation des genres (III). / Through which terms History painting is changing under the reign of Louis XIV? History painting evolves during the period which covers the second part of the reign of Louis XIV. This change is due to modifications dependent on the evolution of the Royal commissions and of the Academic framework itself, as well as the transformation of the context of creation apart from the Royal Academy which renews the way of apprehending and conceiving the History painting. From the study and analysis of the works of History painters members of the Royal Academy of Painting and Sculpture between 1673 and 1694, this thesis reconsiders the criteria of evolution of historical style in painting at the turn of the XVIIe Century. To begin with, the artists’ training and the definition of History painting at that time shall be discussed (I). Then we shall analyze the production of these painters for the Royal Academy and for the King after their approval within the Royal institution (II). Furthermore, in order to define better the History painting characteristics at this time, the study of the works for private individuals and religious institutions (i.e. apart from the Royal Academy) will question the historiographic vision which claims that History painting comes from a crisis; it will also clarify its new ways of transformation, in particular through the hybridization of styles (III).