Thesis (Ph. D.)--University of Washington, 1988. / Vita. Bibliography: leaves [398]-441.

This thesis provides the first detailed study of the jury of the Paris Fine Art Salon under the July Monarchy and Second Republic. In 1831, Louis-Philippe delegated the role of jury to the members of the first four sections of the Académie des Beaux-Arts. This thesis analyses the diverse composition of the July Monarchy jury and offers the first account of its procedures and decisions based on a rigorous examination of archival sources. It also examines the nature and extent of the growing opposition to the jury, its eventual abolition in 1848 and the decisions taken in forming a new jury under the Second Republic. In so doing it reveals the failure of the king and his arts administration to respond to the aspirations and expectations of the artistic community under the post-revolution constitutional monarchy. It also shows how the jury’s diverse membership sparked conflict, notably between a conservative group of architects and certain more open-minded members of the painting section, as it sought to adjust its academic values and expectations in response to the artistic developments of the period. My examination of the opposition to the jury among artists and art journalists during this period brings to light the key issues surrounding admission to the Salon at the time. Finally, the analysis of the Second Republic reveals the ways in which this opposition was temporarily satisfied by reforms to the jury, examining the significance of changes not only to its composition, but also to its procedures. At each stage the thesis challenges the simplistic misrepresentations of the Salon jury’s procedures and decisions prevalent during the July Monarchy itself and subsequently in the history of the emergence of modern art in France during the nineteenth century.

Thesis--Cologne. / Vita. Includes bibliographical references (p. 530-546).

Thesis (Ph. D.)--New York University,1997. / Includes bibliographical references (p. 277-297) and index.

No description available.

Thesis (Ph.D.)--University of Toronto, 2008. / Includes bibliographical references (leaves 209-224).

Thesis (doctoral)--Ludwig-Maximilians-Universität zu München, 1981. / Includes bibliographical references (p. 277-295).

O objetivo desta tese é identificar alguns dos momentos da tradição artística visual moderna que pretenderam mapear a ascensão, a consolidação e a devastação do projeto de modernização do ponto de vista de suas vítimas no âmbito de um mercado no qual a arte e a cultura se consolidam, em passo acelerado, como mercadorias. A partir das demandas para a arte moderna codificadas na obra de Charles Baudelaire e das conquistas técnicas sedimentadas na pintura de Gustave Courbet, Jean-François Millet, Edgar Degas e Édouard Manet, examinaremos as configurações sociais e artísticas que permitirão a ampliação do quadro dos artistas trabalhadores. Tomaremos em seguida as obras dos fotógrafos Eugène Atget e Weegee como exemplos de produções artístico-fotográficas que ao elegerem o Trabalho como a categoria central na reflexão sobre o processo de modernização em curso ampliam ainda mais os horizontes artísticos, alçando-os a instrumentos de avaliação crítica de sua hora histórica. / The aim of this thesis is to identify some of the moments within the modern artistic tradition that intended to map the ascension, consolidation, and devastation of the process of modernisation from the point of view of its victims in the realm of a market in which culture and the arts were rapidly becoming commodities. Taking into account both the demands for Modern Art codified in the oeuvre of Charles Baudelaire and the technical advances in the works of Gustave Courbet, Jean-François Millet, Edgar Degas, and Édouard Manet, we will examine the social and artistic considerations that allowed the increase in number of working artists. The photographic oeuvre of Eugène Atget and Weegee will follow as examples of productions that, by electing Labour as its main theme, broaden even more the artistic horizons, making them critical instruments of their historical hour.

Henri de Toulouse-Lautrec (1863-1901) está presente no acervo do Museu de Arte de São Paulo Assis Chateaubriand (MASP) com onze obras que expõem diferentes momentos do percurso do artista, englobando mais de vinte anos de produção. A partir desse conjunto, o presente trabalho propõe a análise dessas obras, assim como as conjunturas de aquisição e de suas coleções anteriores à entrada no acervo do museu. Buscamos compreendê-las dentro do espaço do museu como objetos carregados de história, que permitem entender a obra e vida do artista, assim como as questões encadeadas pela trajetória dessas obras até o museu. / Henri de Toulouse-Lautrec (1863-1901) is present in the collection of the São Paulo Museum of Art Assis Chateaubriand (MASP) with eleven artworks that expose different moments of the artist\'s journey, encompassing more than twenty years of production. This research proposes to examine this set of artworks, as well as situations of acquisition and their previous collections at the entrance to the museum\'s collection, We seek to understand them within the museum space as historical objects, which allow us to understand the work and the artist\'s life, as well as issues posed by the trajectory of these works to the museum.

In recent decades, the art and life of Jacques-Louis David have sparked a renewed surge of interest in the academic community. It is startling, however, that the often prevalent and imposing elements of architecture found in David's paintings have received little scholarly attention. This study fills a lacuna in David studies by providing a new perspective on his passionate engagement with architecture and its impact on his art. I begin by demonstrating that, following his trips to Rome early in his career, architecture became central to many of the artist's most celebrated compositions. Focusing chronologically on an approximately thirty-year period of the artist's career, I explore key paintings by David that serve as principal examples of the emphasis he placed on architecture and its ability to reaffirm, complement, intensify, and contribute layers of meaning to the central themes of his paintings. Throughout the dissertation, I identify principal architectural elements contained within these works and seek to determine their significance. David's engagement with architecture began at a young age. He was born into a family of architects and throughout his adolescence was surrounded by some of the most important thinkers, artists, and architects of the eighteenth-century. This unique upbringing and inclusion within Paris's elite cultural milieu had a tremendous impact on how David would come to understand architecture as an aesthetic vehicle capable of enhancing his works with added narrative and metaphorical meanings. The dissertation takes as its starting point an investigation into David's period as a pensionnaire at the French Academy in Rome where he became profoundly inspired by the Antique. David recorded the impact of the Roman experience on his artistic development within the pages of a dozen albums, which contain a vast number of drawings depicting the Italian landscape, ancient buildings and monuments, and antique sculpture. The Roman albums reveal the importance David placed on architecture during this period and mark the beginning of the transformative effect the medium would have on his subsequent work. David's obsession with the art and architecture of ancient Rome revealed in his Roman albums, for example, combined with his fascination for the popular vedute genre exemplified in compositions by Robert, Panini, and Piranesi, inspired him to reconsider how architecture could be used in new and significant ways in representations of historical subjects. This study investigates the multiple sources of architectural inspiration that served David throughout his career and inspired him to create a powerful architectural language. Comparisons between painting and architecture, including representations of architecture in painting, are fully explored for in the art of David, painting and architecture are not dichotomous. Rather, the two mediums are inextricably linked and together can be understood to embody the thoughts, pursuits, and passions of an epoch.