« Graveur-illustrateur », Léopold Flameng incarne dans la seconde moitié du xixe siècle un rapprochement entre les activités de graveur de reproduction et d’illustrateur original. Formé à la gravure « classique » par Luigi Calamatta, à l’Ecole des beaux-arts de Bruxelles, il devint un aquafortiste et buriniste de grande réputation à partir des années 1860, traduisant les maîtres et spécialement Rembrandt. Œuvrant à la Gazette des beaux-arts, à L’Artiste, à L’Art, il collabora aussi avec des revues étrangères et travailla pour des éditeurs d’estampes comme Goupil. Néanmoins, Léopold Flameng ne délaissa pas une activité de créateur, qu’il cultiva en pratiquant l’illustration originale. Dessinant pour Ducrocq, Jouaust ou Hetzel, Flameng est un des rares graveurs de métier à réussir, dans la seconde moitié du xixe siècle, une carrière d’illustrateur à succès face à la dominance des peintres.Cette thèse qui s’appuie sur un ample corpus d’œuvres et sur une correspondance et des archives en grande partie inédites, cherche à définir le « graveur-illustrateur », type particulier d’illustrateur venu non de la peinture mais de la gravure. Tandis qu’une première partie s’attache à présenter le graveur de reproduction, en s’attardant notamment sur son rôle dans la dynamique de l’eau-forte à partir des années 1850 en France, une deuxième partie vise à montrer le glissement de l’artiste vers l’illustration originale. Il s’agit d’en expliciter les raisons et de comprendre un paradoxe : comment Léopold Flameng a pu trouver dans l’illustration originale un terrain de liberté créative, compte tenu des nombreuses contraintes qui pèsent sur l’artiste ? Enfin, une dernière partie explore les réseaux personnels et professionnels de Flameng, cherchant à étudier sa relation avec les divers intermédiaires et collègues entourant le graveur et l’illustrateur, et à analyser la distribution et la réception de son œuvre auprès du public. L’objectif de cette thèse est donc de faire émerger une typologie particulière d’illustrateur, en s’appuyant à la fois sur Léopold Flameng et sur les évolutions notables qui touchent le monde de l’estampe au milieu du xixe siècle et qui impliquent, chez la plupart des graveurs, de nécessaires adaptations à un nouveau contexte. / "Engraver-illustrator", Leopold Flameng embodies in the second half of the nineteenth century a reconciliation between the activities of reproductive engraver and of original illustrator.Trained in "classical" engraving by Luigi Calamatta at the Ecole des Beaux-Arts in Brussels, he became a renowned etcher and engraver from the 1860s, translating the masters, especially Rembrandt. Working in the Gazette des Beaux-Arts, L'Artiste, L’Art, he also collaborated with foreign magazines and worked for prints publishers like Goupil.Nevertheless, Leopold Flameng did not abandon a creative activity, which he cultivated by practicing the original illustration.Drawing for Ducrocq, Jouaust or Hetzel, Flameng is one of the few professional engraver to succeed in the second half of the nineteenth century, a successful illustrator career in the face of the dominance of painters.This thesis, which is based on a large corpus of works and a correspondence and archives largely unpublished, seeks to define the "engraver-illustrator", a particular type of illustrator who came not from painting but from engraving.While the first part is devoted to presenting the reproductive engraver, focusing in particular on its role in the dynamics of etching from the 1850s in France, a second part aims to show the shift of the artist to the original illustration. It is a matter of explaining the reasons for this, and of understanding a paradox : How could Leopold Flameng find in the original illustration a field of creative freedom, given the many constraints that weigh on the artist ?Finally, the last part explores the personal and professional networks of Flameng, seeking to study his relationship with the various intermediaries and colleagues surrounding the engraver and the illustrator, and to analyze the distribution and reception of his work among the public.The objective of this thesis is thus to bring out a particular typology of illustrator, relying both on Leopold Flameng and on the significant evolutions that affect the world of printmaking in the middle of the nineteenth century and which imply, in most of the engravers, of necessary adaptations to a new context

Throughout history, man has had the need to communicate through drawings, and drawing has evolved as another language. The technical aspect of drawing has sought to represent objects as faithfully as possible, both insofar as their shape and size, such small objects as the smallest of parts or such large ones as the largest of objects created by man: towns and cities. Part of technical drawing has evolved in the direction of rigorous regulation. Some areas of technical drawing have enabled architects and engineers not just to represent the designed object precisely but, at the same time, try to convey ideas and sensations, thus managing to suggest and stimulate the spectator¿s imagination. The range of mechanisms and techniques of representation used in drawing town plans is most varied, and they have always been subject to the wish of the planner to express what he or she seeks to highlight through the representation of the city plan. With regard to architectural drawing and industrial drawing, a multitude of books, studies and writing is available to us. Also an aspect of technical drawing, urban planning drawing has always straddled the treaties on the graphic representations of architecture and engineering. Understanding town planning as a specific technical discipline, the graphic documentation it generates also fits such definition. Thus, for its representation a whole graphic system of codification created based on the use of a set of drawing mechanisms and resources is established, but the bibliography, publications and articles on this particular subject are rather scarce and disperse. This Doctoral Thesis aims to ascertain which codes, mechanisms and graphic resources have been or are applied in representing town planning; whether they are intuitive or established directly or indirectly by the rules. How might they evolve and what influence can they have in the future of planning? This work is eminently graphic as it aims to offer a semantic analysis of the mechanisms and resources of representation, without seeking to propose a model of standardization for planning drawing. Key words: Architecture, Urbanism, Urban planning, Drawing and engraving. / Al llarg de la història l’home ha tingut la necessitat de comunicar-se mitjançant dibuixos, i el dibuix ha evolucionat com un llenguatge més. La vesant tècnica del dibuix ha tingut com a fi la representació el més exacta possible dels objectes, tant en forma com en dimensió, objectes tan petits com la més petita de les peces o tan grans com el més gran dels objectes creats per l’home, la ciutat. Part del dibuix tècnic ha evolucionat cap una reglamentació rigorosa. Alguns àmbits del dibuix tècnic han permès a arquitectes i enginyers no només representar amb precisió l’objecte projectat sinó, al mateix temps, intentar comunicar idees i sensacions, podent així suggerir i estimular la imaginació de l’espectador. El ventall de mecanismes i tècniques de grafiat emprats en el dibuix dels plànols de les ciutats és molt divers, i sempre han estat sotmesos a la voluntat del planejador per tal d’expressar allò que es pretenia destacar amb la representació de l’ordenació projectada. Sobre el dibuix arquitectònic i el dibuix industrial tenim a la nostra disposició multitud de llibres, estudis i escrits. Essent també una vessant del dibuix tècnic, el dibuix del planejament urbanístic sempre s’ha trobat a cavall dels tractats sobre les representacions gràfiques de l’arquitectura i de l’enginyeria. Entenent l’urbanisme com una disciplina tècnica específica, la documentació gràfica que genera també ho és. S’estableix doncs, per a la seva representació, tota una codificació gràfica que es crea a partir de la mobilització d’un grup de mecanismes i recursos de dibuix, però la bibliografia, publicacions i articles sobre aquesta particular temàtica és molt escassa i dispersa. L’objectiu d’aquesta Tesi Doctoral és intentar esbrinar quins codis, mecanismes o recursos gràfics s’han aplicat o s’apliquen en la representació de l’urbanisme. Si són intuïtius o fixats directament o indirecta per norma. Quina evolució poden tenir i quina influència podran suposar en el futur del planejament. És un treball eminentment gràfic, amb la finalitat d’una d’anàlisi semàntica dels mecanismes i recursos de representació i sense la pretensió de proposar un model de normalització pel dibuix del planejament.

This dissertation studies visual artifacts associated with early modern theatre and book culture, and through them examines acts of communication in the marketplace. These artifacts, illustrated play-text title pages from the period 1600 to 1660, provide scholars with an opportunity to better understand the discursive power of theatre and subjects associated with drama in seventeenth-century London. This work offers a set of case studies that demonstrate how title page imagery and its circulation can contribute to our understanding of contemporary theatre culture, and addresses questions of intention, production and distribution. As well, it offers insights into early modern modes of constructing visualization. These artifacts served not only as visual reminders or interpretations of the dramatic works they represented, but were also used as powerful marketing tools that enhanced the cultural capital of the plays throughout London. The title pages were used as posters, tacked to the walls of the booksellers’ shops; the woodcuts were also repurposed, and incorporated into other popular publications such as broadside ballads, which retold the plots of the plays in musical form and were sold on city street corners. These connections raise questions about early modern forms of marketing used by publishers, and challenge the widely accepted belief that images held little value in the society and in the culture of print of the period. In addition, the distribution of these illustrations challenges the widespread conviction that early modern English culture was iconophobic, and suggests that seventeenth-century English society embraced rather than spurned visual media. Methodologically, this study is built on the foundations laid by scholars of English theatre and print culture. Within those fields, however, it has been customary to view these title page illustrations as inferior forms of representation, especially in comparison to their continental counterparts. By using tools from visual rhetoric to expand on how and what these images communicate, I am able to show the important functions they performed, and the distinct and playful way they represent complex relationships between stage and page, audience and performance, reading and spectating. These readings, in turn, enrich our historical understanding of the cultures of print and theatre, and build upon our knowledge of the interactions between these rich and important fields. Each chapter explores theoretical and contextual questions that pertain to some aspect of each illustration, as well as examining whether individual illustrations can inform us further about early modern theatrical performance practices. The introduction surveys the relevant field and introduces the theoretical resources that will be used in the subsequent chapters. Chapter Two examines the 1633 edition of Arden of Faversham and the question of whether the action in the illustration pertains to the play or to a broadside ballad that appeared in the same year. The third chapter provides a theoretical analysis of the performance of violence in the woodcut for The Spanish Tragedy, and how emphatic elements in the image may demonstrate the influence of theatrical performance upon the artist. Chapter Four explores the relationship between the title page of Friar Bacon and Friar Bungay and the concept of celebrity in relation to the Tarltonesque clown character who dominates the action of the image. Chapter Five considers the problematic relationship between theatre, politics and satire in the competing engraved title pages for A Game at Chess. The conclusion draws together the findings, and points to other aspects of early modern print and theatre cultures to which they pertain.

This dissertation studies visual artifacts associated with early modern theatre and book culture, and through them examines acts of communication in the marketplace. These artifacts, illustrated play-text title pages from the period 1600 to 1660, provide scholars with an opportunity to better understand the discursive power of theatre and subjects associated with drama in seventeenth-century London. This work offers a set of case studies that demonstrate how title page imagery and its circulation can contribute to our understanding of contemporary theatre culture, and addresses questions of intention, production and distribution. As well, it offers insights into early modern modes of constructing visualization. These artifacts served not only as visual reminders or interpretations of the dramatic works they represented, but were also used as powerful marketing tools that enhanced the cultural capital of the plays throughout London. The title pages were used as posters, tacked to the walls of the booksellers’ shops; the woodcuts were also repurposed, and incorporated into other popular publications such as broadside ballads, which retold the plots of the plays in musical form and were sold on city street corners. These connections raise questions about early modern forms of marketing used by publishers, and challenge the widely accepted belief that images held little value in the society and in the culture of print of the period. In addition, the distribution of these illustrations challenges the widespread conviction that early modern English culture was iconophobic, and suggests that seventeenth-century English society embraced rather than spurned visual media. Methodologically, this study is built on the foundations laid by scholars of English theatre and print culture. Within those fields, however, it has been customary to view these title page illustrations as inferior forms of representation, especially in comparison to their continental counterparts. By using tools from visual rhetoric to expand on how and what these images communicate, I am able to show the important functions they performed, and the distinct and playful way they represent complex relationships between stage and page, audience and performance, reading and spectating. These readings, in turn, enrich our historical understanding of the cultures of print and theatre, and build upon our knowledge of the interactions between these rich and important fields. Each chapter explores theoretical and contextual questions that pertain to some aspect of each illustration, as well as examining whether individual illustrations can inform us further about early modern theatrical performance practices. The introduction surveys the relevant field and introduces the theoretical resources that will be used in the subsequent chapters. Chapter Two examines the 1633 edition of Arden of Faversham and the question of whether the action in the illustration pertains to the play or to a broadside ballad that appeared in the same year. The third chapter provides a theoretical analysis of the performance of violence in the woodcut for The Spanish Tragedy, and how emphatic elements in the image may demonstrate the influence of theatrical performance upon the artist. Chapter Four explores the relationship between the title page of Friar Bacon and Friar Bungay and the concept of celebrity in relation to the Tarltonesque clown character who dominates the action of the image. Chapter Five considers the problematic relationship between theatre, politics and satire in the competing engraved title pages for A Game at Chess. The conclusion draws together the findings, and points to other aspects of early modern print and theatre cultures to which they pertain.

The thesis is a survey of 291 frontispieces and illustrated title pages in European books on astronomy from the 17th century. It is a quantitative and qualitative survey of how motifs are related to consumption, identification and display. Elements in the motifs related to factual content as opposed to those aimed to raise the perceived value of astronomy are distinguished. The quantitative study shows that astronomical phenomena (90 per cent) and scientific instruments (62 per cent, or as much as 86 per cent if only titles with illustrations occupying an entire page are considered) are the most common motifs to inform the reader of the genre. Besides these, a wide range of depicted features indicate the particularity of each title. Different means for raising the value of astronomy and its attributes are identified. The interplay of “real” or “credible” elements with fictional ones was used to attract attention, create positive associations and promote acquisition and reading. The motifs mainly promote delectation and erudition, although some attract attention through their deliberately enigmatic design and a few through fear. The survey determines prevalent settings (palaces, the theatre, gardens, the wilderness and the heavens), activities (skilful use of instruments, conversations or disputes), references to the ancients and heraldic components. They present both the self-image of astronomers at the time and ideal components that contain connotations of an enhanced reality. This self-image also contributed to the definition of normative values for astronomers in the 17th century. The affinities between painters and astronomers are examined. In addition, an analysis of descriptions of frontispieces is undertaken, which shows that the user of the book was expected to devote considerable time to the frontispiece in order to understand all of its particular features and that the illustrations were suitable for display and learned digression.

Thesis (doctoral)--Freie Universität, Berlin, 1999. / Includes bibliographical references (p. 237-248).

Thèse--École du Louvre. / Includes indexes.

A joalheria tem se desenvolvido juntamente com novas tecnologias e aprimoramentos em processos de fabricação, sendo um reflexo de mudanças na sociedade e na indústria. Determinadas gemas, como a ágata, têm sido beneficiadas para a fabricação de adornos e ornamentos, contudo algumas características do material permanecem pouco estudadas, como modificações em sua microestrutura durante o processamento. Dentre as novas tecnologias de processamento para a ágata, encontra-se a gravação a laser CO2. A tecnologia está associada a determinadas modificações superficiais na gema através da geração de uma porosidade secundária, dado ao fato que o material possui uma porosidade natural em escala micrométrica. Durante a gravação, diversos parâmetros podem ser definidos para aperfeiçoar o resultado do processo. Assim, a padronização universal de desenhos vetoriais pode facilitar a execução da gravação, principalmente com a utilização de formas preenchidas, normalmente realizada com imagens do tipo bitmaps JPEG. Visando estudar os efeitos do laser no material, esta pesquisa apresenta uma análise tridimensional, não-invasiva e de alta-resolução de uma amostra de ágata gravada, por meio de análises qualitativas e quantitativas, baseadas em microtomografia computadorizada de raios X. Os resultados mostraram que os efeitos de porosidade secundária, trincas e fraturas de expansão térmica ocorrem principalmente devido à presença de água no interior da amostra, tanto natural quanto proveniente de reações químicas perante o aquecimento do laser. Os volumes de material removido por expulsão e vaporização foram quantificados e ponderados com relação à distância percorrida pelo feixe. Após a compreensão dos efeitos, foram realizadas análises de padronização de diferentes espaçamentos para gravação de formas simples e/ou complexas, abertas e/ou fechadas, e preenchidas, com perfilometria de contato e microscopias. A padronização foi utilizada como base para o depósito de uma patente de invenção. / Jewelry has been developed along with new technologies and improvements in manufacturing processes, thus reflecting changes in society and industry. Certain gemstones, such as agate, have been processed for the manufacture of ornaments and adornments, however, some characteristics of the material remain little studied, such as modifications on its microstructure during processing. Among the new processing technologies for agate is CO2 laser engraving. The technology is associated with certain superficial modifications in the gemstone through the generation of a secondary porosity, due to the material having a natural porosity in a micron scale. During engraving, several parameters can be set to improve the processing result. Thus, a universal standardization of vector drawings can facilitate the execution of the engraving, mainly with the use of filled forms, usually performed with JPEG bitmaps type images. Aiming to study the effects of laser on the material, this research presents a threedimensional, non-invasive, and high-resolution analysis of an engraved agate sample through qualitative and quantitative studies based on X-ray computerized microtomography. Results showed that the effects of secondary porosity, thermal expansion cracks, and fractures occur mainly due to the presence of water within the sample, both natural and derived from chemical reactions due to the laser heating. Removed material volumes by expulsion and vaporization were quantified and weighted with respect to the distance moved by the beam. After the understanding of the effects, standardization analyzes of different spacings were made for the engraving of simple and/or complex, open and/or closed, and filled forms, with contact profilometry and microscopies. Standardization was used as the basis for a patent deposit.

Manual de aproximação é um embate que se quer fluido entre a pesquisa acadêmica e o caos da criação entre as Artes Visuais e a Dança. Tenta degustar sem enlatar, para mostrar aqui um resultado parcial de uma pesquisa que começou bem antes do mestrado e possivelmente não se encerrará com ele. São descritas experiências significativas em relação a três trabalhos realizados no início da pesquisa: Pele na água, Relógio Pélvico e Borboleta Pélvica. Pele na água mostra um processo de trabalho relacional que está entre a performance e a gravura. Relógio Pélvico e Borboleta Pélvica partem de um lugar da anatomia e desenvolvem-se através de encontros com pessoas interessadas no saber do movimento e da criação somáticoperformativa. Em meio às relações vividas nesses processos, elaborou-se um sentimentoideia chamado Sim-eu, que trata da potência criativa entre pessoas que apostam na integração de si com o outro. / Manual de aproximação is a clash that is intended fluid between academic research and the chaos of creation between the Visual Arts and Dance. It tries to taste withoutcanning in order to show here a partialresult of a research that started well beforethe masters course and possibly will not endwith it. Significant experiences aredescribed in relation to three studiesperformed at the beginning of the research: Pele na água, Relógio Pélvico and Borboleta Pélvica. Pele na água shows a relational work found between the performance and the engraving. Relógio Pélvico and Borboleta Pélvica depart from a place of anatomy and are developed through encounters with people interested in the knowledge of somatic-performative movement and creation. In the midst of the relationships lived in these processes, a sentimentidea called Sim-eu was created, which deals with the creative power between people who bet on the integration of themselves and the other.

Este trabalho tem por objetivo principal a caracterização do processo de gravação a laser na ágata, padronizando a utilização do equipamento para auxiliar no desenvolvimento de produtos na área da joalheria, adornos e ornamentos. A ágata, uma variedade da calcedônia, é muito valorizada pelos mercados externos. A carência de beneficiamento e inovação tecnológica geralmente dada a este material na atualidade é um dos pontos fortes deste estudo. Nas últimas décadas, a procura por inovações tecnológicas que possam auxiliar o processo produtivo industrial se tornou importante ferramenta para manter empresas competitivas e atuantes frente a seus mercados. A padronização da técnica de gravação a laser pode agregar valor à criação de novos produtos em ágata, criando um diferencial para as peças de joalheria, sendo facilmente aplicada em escala industrial. As análises dos melhores parâmetros de gravação foram feitas com o auxílio de imagens de microscopia eletrônica de varredura (MEV), pois a grande magnificação das imagens obtidas por esta técnica auxilia em uma precisão micrométrica da extensão e da área de interação entre o material e o laser; microscópio estereoscópico; e de percepção visual e tátil. Os resultados obtidos com a utilização dos equipamentos localizados no LdSM / UFRGS e CTPedras / Soledade com suas respectivas lentes, potências e velocidades foram de grande valia para o desenvolvimento de análises quantitativas e qualitativas da interação do feixe laser com a ágata. O estudo da interação entre laser e materiais é ainda um vasto campo a ser explorado. Esta dissertação de mestrado disponibiliza resultados inovadores em relação à gravação por laser do tipo CO2 em materiais gemológicos, disponibilizando a padronização dos parâmetros ideais para o equipamento e para o desenvolvimento de criações joalheiras. / The main goal of this study was to characterize laser engraving process in agate, standardizing the use of equipment in order to assist product development in the field of jewelry, ornaments and artifacts. Agate, a variety of chalcedony, is highly valued by foreign markets. One of the focuses of this study is the lack of improvement and innovation given to this material nowadays. In recent decades, the search for technological innovations that can help the process of industrial production has become an important tool to keep companies competitive and active front of their markets. The standardization of laser engraving technique can add value to the creation of new products in agate, creating a differential for the jewelry pieces and being easily applied on an industrial scale. The analysis of these highly qualified engraving parameters was aided by scanning electron microscopy images, once high magnification of images presents a better definition of the interaction zone between the material and the laser bean in a micrometer precision; stereoscopic microscope; and visual and tactile perception. The results obtained from the use of equipment located in LdSM / UFRGS and CTPedras / Soledade with their respective lenses, power and speed are of great value for the development of quantitative and qualitative analysis of the interaction of the laser beam with agate. The study of the interaction between laser and materials is still a vast field to be explored. This masters dissertation provides innovative results compared to laser engraving type CO2 in gemological materials, providing standardization of the ideal parameters for the equipment and for developing jewelry creations.