George Friedrich Haendel fut l'un des artistes des arts imitatifs. Durant sa production d'opéra seria, il inventa, disposa ses œuvres artistiques, suivant les principes de ces arts. On y observe une ordonnance du tout-ensemble et de ses parties liées entre elles en établissant une alternance des masses d'ombres et de lumières sonores. Ce placement averti de clair-obscur fut l'un des composants incontournables pour maintenir l'intérêt du public, en lui apportant une variété incessamment renouvelée et des repos pour l'âme. Ses récitatifs terminaient invariablement par des notes instrumentales seules aux fins de mesures et leurs decrescendo inévitables obscurs et/ou par des silences représentatifs de l'obscurité. Ceci contrastait avec les airs plus clairs avec des densités sonores importantes. Également, ce compositeur y indiqua des fortes et des pianos instrumentaux pour rehausser les reliefs sonores des clair-obscur spécifiques à chaque partie de ses opéras. Concernant les densités sonores, Haendel disposa habituellement des parties A longues, denses instrumentalement en contraste aux parties B courtes, peu denses instrumentalement et habituellement avec des pianos instrumentaux dès les débuts des parties B, renfonçant l'obscurité de ces parties-ci. Musicalement, le placement du clair-obscur sonore s'y faisait sur des longues tenues vocales et/ou instrumentales avec le développement musical de celles-ci sur des crescendos, des decrescendos et/ou des messa di voce. Les parties d'agilité vocale et/ou instrumentale suivait ces dynamiques sonores, en mettant en valeur les parties de bravoure en contraste de clair-obscur des airs pathétiques. / George Friedrich Haendel was one of the artists of the imitative arts. During his opera seria production, he invented, laid out his artistics works, according to the principes of these arts. One observes there an ordinary of the entier opera and its parts dependend between them by estabilishing an alternation of shades and lights sounds. This placement of schiaroscuro xas one of the composants to curcumvent to maintien the interest of the public, while bringing a without delay renewed variety. His recitatives finished invariably by instruments notes only for purposes of dark inevitable measurements and their decrescendo and/or by silences representatives of the darkness. This contrasted with the clearer airs with important sound densities. Also, this composer indicated to it the fortes and pianos instrumentals to raise the depths of sound of the chiaroscuro of each part of his operas. Concerning the sound densities, Haendel usually had long, dense parts A instrumentaly contrasts about it with the short parts B, not very dense instrumentaly and usually with instrumental pianos as of the beginnings of the partie B, recessing the darkness of these parts. Musically, the placement of the chiaroscuro was done there on long vocal and/or instrumental behavious with the musical developpement of those on crescendo, decrescendos and/or messa di voce. The parts of vocal and/or instrumental agility followed these dynamic sound, by emphasizing the parts of bravery in contrast of the pathetic airs.

This thesis deals with literary work of Josef Čapek in relation to the concept of visual contrast. First, the historical background is set up, with highlights of then exposed interest in Baroque era on one hand, and increasing threat of World War II on the other. Both of these moments were relevant in connection with one of the most crucial cultural events in First Czechoslovak Republic: the exhibition of Pražské baroko 1600-1800. The essential hypothesis suggests that based on what has been indicated, some elements of the Baroque aesthetics appeared to be relevant for Josef Čapek's unique artisic expression as well, since they became subject of integration to his aesthetic frame. In this respect, the common ground between Čapek's modern artistic approach and Baroque aesthetics is believed to be shaped by the notion of visuality. Finally, these ideas are applicated on Čapek most prominently Baroque-influenced works, Kulhavý poutník and Psáno do mraků. Keywords: Josef Čapek, Baroque, exhibition, Pražské baroko 1600-1800, visuality, contrast, chiaroscuro, Kulhavý poutník, Psáno do mraků

No description available.

The thesis is devoted to theoretical introduction of shade as a distinctive theme and an expressive element in the history of fine arts extending to the dramatic arts, film and photography, as well as specifications of shadow play as an expressive medium. The work also concentrates on the description of shade in terms of optics and visual perception, answers the question what a shadow is. In this thesis the analysis of both traditional and modern symbolism related to the phenomenon of shadow is not forgotten. A large part is dedicated to didactic analysis and brief characteristics of artproject methods and art series in art education, with regard to practical implications of work. The constituent part of the thesis was the preparation, realization and documentation of particular art series (set of art lessons) on topic "Shade and shadow play" in secondary schools.

Peintre à la cour du duc René II en 1506 et actif à Strasbourg jusqu’à la fin de la deuxième décennie du XVIe siècle, Hans Wechtlin n’a plus fait l’objet d’une monographie depuis 1907. Il s'agit de combler cette lacune dans la perspective d’une connaissance renouvelée de la production artistique en Lorraine et dans l’aire germanique méridionale, ainsi que des comportements en matière de commandes de peintures, de vitraux et de gravures sur bois à la veille de la Réforme. En partant d’une nouvelle forme de contextualisation artistique, l’étude entend donc questionner l’itinéraire de ce peintre, connu uniquement à travers son œuvre gravé, afin de mettre en lumière les relations qu’il a pu entretenir avec d’autres artistes et imprimeurs. Au terme de ce parcours, l’établissement d’un catalogue raisonné de ses œuvres permet de mieux cerner l’étendue et l’impact des productions de ce représentant de l’art graphique rhénan. / A court painter to Duke of Lorraine René II in 1506 and an artist active in Strasbourg until the end of the second decade of the 16th century, Hans Wechtlin has yet not been the subject of any monograph since 1907. The present work therefore aims at filling the gap by renewing the knowledge of artistic production in Lorraine and in the southern Germanic area, as well as customs regarding commissioned paintings, stained-glass windows andwoodcuts on the eve of Reformation.Based on a new form of artistic contextualization, this study questions the itinerary of a painter of whom everything but his legacy remains unknown until this day, in order to bring his relationships to other artists and printers into light. Finally, a comprehensive, annotated listing of his complete works reveals the extend and impact of the productions of a major figure of Rhenish graphic arts.