Global ETD Search

1	Fernand Léger : peinture, poésie et "vie moderne" / Fernand Léger : painting, poetry and "modern life" Duvernay, Bénédicte 22 May 2017 (has links) Fernand Léger a vilipendé la peinture "littéraire" et "narrative", mais n'a jamais cessé de côtoyer la poésie. En cela, il s'inscrit dans une tradition qui, depuis Manet, a affirmé l'autonomie de l'art par rapport à une culture reçue pour développer une attention extrême aux manifestations de la vie qui lui est contemporaine. C'est sur cette base, dans la séparation nette de l'art avec la culture bourgeoise, que s'est épanoui le rapprochement des peintres et des poètes depuis cette époque. Mais la "vie moderne" dont parle Léger est différente de celle à laquelle sont confrontés les artistes du XIXe siècle. Guerre, chaîne de montage et métropoles industrielles sont la toile de fond de sa collaboration avec Blaise Cendrars, de son interprétation des Illuminations de Rimbaud, ou encore de la création de son propre livre illustré, Cirque, que la thèse propose d'analyser. / Fernand Léger has long reviled "literary" and "narrative" painting, but never has ceased to cross words with poetry. In that regard he falls within a tradition in which, since Manet, the autonomy of art has been clearly asserted in relation to the imposed hierarchy and values of bourgeois culture, so that it can wholly focus on the manifestations of life of its time. It is on that basis, in the clear split separating art and bourgeois culture, that the bond between poets and painters has flourished since then. But what Fernand léger refers to as "modern life" has nothing to do with what the 19th century artists were exposed to. War, assembly lines and industrial metropolis compose the background of his collaboration with Blaise Cendrars, his rendering of Rimbaud's Illuminations or the making of his own illustrated book, Cirque, that this thesis proposes to study. Fernand Léger Art moderne Poésie moderne Blaise Cendrars Histoire de la peinture Vie moderne Poésie illustrée Fernand Léger Modern Art Modern Poetry Blaise Cendrars History of painting "Modern Life" Illustrated poetry
2	Värdet av det fristående föremålet : Fernand Légers "l'objet dans l'espace" i konstnärsskapet hos Waldemar Lorentzon och Erik Olson under 1920- och 1930-talet Nilsson, Anna January 2019 (has links) Institutionen för kultur och estetik, Konstvetenskap 106 91 Stockholms universitet 08-16 20 00 vx Handledare: Andrea Kollnitz Titel och undertitel: Värdet av det fristående föremålet - Fernand Légers ”l’objet dans l’espace” i konstnärskapet hos Waldemar Lorentzon och Erik Olson under 1920- och 1930-talet Författare: Anna Nilsson Kontaktuppgifter till författaren: anni6257@student.su.se Uppsatsnivå: Kandidatuppsats Ventileringstermin: Vt 2019 ABSTRACT: Syftet med uppsatsen är att undersöka och jämföra vilka uttryck kubisten Fernand Légers tes om värdet av det fristående föremålet, ”l’objet dans l’espace” omsattes och påverkade de svenska konstnärerna Waldemar Lorentzons och Erik Olsons konstnärskap från 1924 när de påbörjade sina konststudier vid hans målarskola Académie Moderne i Paris och in på 1930-talet. Min metod är att först identifiera Légers teorier som inte finns nedtecknade i en kanon eller manifest och därefter med en komparativ analys undersöka hur de förhåller sig till respektive konstnärs verk och deras personliga förutsättningar i rörelsen från kubism till surrealism och villkoren på den svenska konstmarknaden. Studien visar att konstnärerna tog emot och omsatte Légers tes och teorier på ett öppet men individuellt sätt och att influenser av tesen går att identifiera i deras surrealistiska formspråk. Léger vidgade deras blick och ledde dem från ett expressionistiskt formspråk och att förhålla sig till de värderingar som var gällande inom det svenska kulturetablissemanget. Nyckelord: Waldemar Lorentzon, Erik Olson, Fernand Léger, Halmstadgruppen, Egon Östlund, Otto G. Carlsund, kubism, surrealism, l’objet dans l’espace. Waldemar Lorentzon Erik Olson Fernand Léger Halmstadgruppen Egon Östlund Otto G. Carlsund kubism surrealism l'objet dans l'espacde Art History Konstvetenskap
3	"Färgformer strömma i harmoni till varandra" : En undersökning i rörelseuttryck i Otto G. Carlsunds måleri / "Colored shapes stream harmoniously towards each other" : A study in expressions of movement in works by Otto G. Carlsund Sjölin, Nils January 2020 (has links) This essay aims to examine the manifestations of physical movement in two paintings by the Swedish modernist Otto G. Carlsund and to show aesthetic similarities to other modernist artists of the 1920s avant-garde. The method applied is Erwin Panofsky's Iconology to interpret the illusions of physical movement as expressions of the same ideas and visions that were conveyed by other artists during the same time in history. The results show that all painters included in this essay strived to communicate through motion in order to advocate for their visions of social change they believed their art could contribute to. The ambition to reform societies is interpreted as expressions of a Gesamtkunstwerk, a totalizing project aimed at all institutions of their day. Otto G. Carlsund Rörelse Maskin-estetik Kubism Purism Ballet Mécanique Viking Eggeling Fernand Léger Ikonologi Konstruktivism Dadaism Gesamtkunstwerk Art History Konstvetenskap
4	Svenska baletten i Paris - Allkonstverk som "performativa manifest" / Les Ballet Suédois - the total work of art as a "performatized manifesto" Sjölin, Nils January 2022 (has links) This thesis aims to investigate Les Ballet Suédois (1920-1925) and their ambition to create total works of art (Gesamtkunstwerk), a term made famous by the composer Richard Wagner (1813-1883). With regards to modern research into total works of art as expressions of the social or political visions of the avant-garde, this thesis applies theoretical concepts of intermediality and performativity to discern how the company cooperated with members of the Parisian avant-garde. Their joint mission was to regenerate society by uniting the arts and constructing ballets designed as total works of art that conveyed the ideas of the collaborating artists, commonly expressed in written manifestos during this era. In analyzing three works: Dårhuset/Maison de Fous, Världens Skapelse/La Création du Monde, and Relâche, it was revealed that staging total works of art was a common pursuit among artists of the avant-garde. The unique function of the Ballet Suédois was to transgress the ideas of the avant-garde into corporeal, temporal, intermedial manifestations of their radical collaborators. The results showed that Ballet Suédois functioned as enablers that performatized aesthetic, social and political ideas to the stage and, in manifesting the manifestos, had a unique function within the Parisian avant-garde of the early 1920s. Ballet Suédois Svenska baletten Gesamtkunstwerk Total Work of Art allkonstverk Intermediality Performativity Fernand Léger Francis Picabia Jean Börlin Rolf de Maré Paris Modernism Paris. Svenska baletten i Paris allkonstverk intermedialitet performativitet Fernand Léger Francis Picabia Jean Börlin Rolf de Maré Paris Modernism Art History Konstvetenskap
5	Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925 Kolb, Fabian 29 October 2020 (has links) The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music. info:eu-repo/classification/ddc/780 ddc:780

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