In this project notions of presence and absence will be explored through a study of 'the fold'. I will closely examine a number of paintings that depict folded drapery or cloth and from this examination I will select examples that evoke a response in me to these fundamental states of being, My objective is to produce a body of paintings that explore the structure of the fold and its expression through light, shadow and darkness to develop a range of images that metaphorically represent these phenomena and the possibility of a relational field between the two. This examination will re-present, reinterpret, fragment and transform the selected images using the materials of oil painting and drawing to visualize my response to the changing perceptions of this phenomenon. This investigation is informed by philosophical and psychoanalytical writings that explore the phenomenology of states of presence and absence. In part, these states are suggested by other terminologies, for example, form and space or volume and void. The project draws on the work of writers who have examined and changed perceptions of this phenomenon, particularly where they attribute the structure of absence to contribute to an understanding of subjectivity, question the favouring of presence in Western thought and explore the relationship between the two.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The subject of the thesis is a series of paintings. It is based on painting concept of drapery. The history of art is accompanied by drapery almost from the beginning. I´m interested in the variety of aproaches, once the drapery supports the meaning of the painting, once it is the main object of the paintwork. My intention is to paint a series of pantings, which will follow and complement the historic aproach.

The diploma thesis consists of three parts. The first part is devoted to the expression `vase{\crq} and further to the shift of the word vase and different use of vases in the selected historical periods. It deals with the meaning of flowers in the selected historical periods. The second part follows, which deals with lily and daffodil and reasoning of choice of these flowers. This part describes concepts of design of vases for these cut flowers. Next it deals with typology of vases, rules for designing of vases and rules for drapery. The third part deals with practical fabrication of vases for lily and daffodil. It describes technique of vases manufacturing with help of plaster moulds, and complete procedure for their fabrication. Following appendixes document the development of design of vases.

Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau idéal' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau idéal' in French art and aesthetics has also not been fully explored. This thesis examines the way in which costume and drapery formed an important component and embodiment of ideal beauty in the work of Winckelmann and in late eighteenth- and early nineteenth-century French artistic circles, providing new insights into the arguments over the meanings of Truth, Beauty and Nature in this period. The thesis proposes that ideal beauty in late eighteenth- and early nineteenth- century France was conveyed in works of art through the accurate rendering of costume and the expressive qualities of drapery in combination with the perfect form and contour of the nude body. The first part of the thesis sets up a proposition that costume and drapery formed part of the definition of ideal beauty in the work of Winckelmann. Highlighting the significance of Winckelmann's work on costume and drapery in French art theory, it demonstrates how the definition of ideal beauty in France also incorporated the accurate rendering of costume and the aesthetic impact of drapery. In demonstrating the significance of costume and drapery to both Winckelmann and French theorists it is proposed that the application of a meta-historical approach of costume and drapery to French art theory can provide new understandings and readings of the definition of ideal beauty, the hierarchy of the genres and the broader aesthetic concerns of late eighteenth- and early nineteenth- century French art. The second part of the thesis applies the proposed hermeneutic of costume and drapery to a small selection of theoretical work on the nature of ideal beauty and on a significant collection of Salon criticism. With this approach to the primary material this thesis demonstrates how French artists were able to express the 'beau idéal' within the traditional academic conventions and hierarchies, and negotiate the sense of public unease over the use of nudity in contemporary art.

The diploma thesis deals with medieval mural paintings. Its aim is to describe and classify the collection in terms of time and style in the context of contemporary production of mural paintings in the 14th century in Bohemia. In the introduction, historical realtionships connected with the Cathedral of the Holy Spirit are described and the development of church service in East Bohemia is outlined. The main part is concerned with the description, placement, iconographical determination of mural paintings and their present state. It especially focuses on analysing and specification of the iconography of different scenes, figures of saints and donators. Style analysis qualifies style resemblance, analogy, parallels and confronts the mural paintings with contemporary book, mural and carving production. It also deals with the problematics of over painting accidental intervention into the monument. This part deduces the probable creation time of the whole interior decoration of the decanal sacristy. The final part evaluates and recapitulates the whole problematics. The diploma thesis offers the first detailed analysis and evaluation of the paintings in the decanal sacristy of the Cathedral of the Holy Spirit in Hradec Králové and provides complete drawing and photographic documentation.