This four-part dissertation considers Minoan frescoes in their own right for a first time, with reference to unpublished paintings and nearly fifty new restorations, with a view to providing a new basis for historical reconstruction drawn from that source. Earliest developments begin with Neolithic architectural muse of mud plasters, the first painted plasters occuring in EM II settlements and simple decorative schemes in the First Palaces (1900-1700 B.C.). The sudden rise of pictorial naturalism in MM IIIA is explained by native cultural developments of the First Palace Period, not by foreign influences or "eideticism" which is rejected altogether. A review of the motival repertory leads to considerations of six main "cycles of ideas" whence the painters derived their themes. The most important, confined to Knossos palace, depicts a major festival of grand processions and athletic activities before the chief Minoan goddess, and it illuminates the palatial architechural design. But five different systems of mural decoration characterise Minoan architecture as a whole, with regional and perhaps autonomous variations at Cycadic sites. Technical considerations confirm "buon fresco" as the normal painting technique and distinguish Knossian town house and palace murals in construction and purpose. Similar distinctions in compositional design are also described. A review of eleven "schools" of Knossian painters and of regional artists precedes a detailed reconstruction of the dates of the frescoes on stratigraphical, stylistic and comparative evidence. Sir Arthur Evans's fresco dating should generally be lowered by one Minoan phase. Minoan pictorial painting ceases with the palace destruction at Knossos, c.1375 B.C. Major differences appear between pre- and post-LM IB frescoes, tentatively explained on the evidence of Aegean and Egyption pictorial representations by the arrival at Knossos of a Mycenaean military dynasty, c.1450 B.C. Minoan wall painting finally disappeared in the LM IIIB period.

No description available.

This diploma thesis focuses on František Siard Nosecký (1693 - 1753) - Czech baroque painter and on his artwork. He was born into an artistic environment. His father Jindřich Nosecký was also a painter which certainly greatly influenced his son. The majority of pieces of Siard Nosecký came into existence for Premonstratensian order into which he joined as a young man. Location of his artwork frequently corresponds with the location of his parish. His functioning is noticeable at different locations in Bohemia. However the largest space for self-fulfillment he had in Prague at Strahov in his home monastery where he spent the biggest portion of his consecrated life. In addition to acquainting with the life, work and creative inspiration of the painter, a substantial part of the thesis consists of a catalog of works that presents not only extant works but also several non-existent realizations that we learn about only from literature today.

Life and work of a late baroque painter Joseph Hager The thesis outlines artistic work of Joseph Hager, Czech late baroque painter. The author, especially of the wall painting, studied by Jan Karel Kovář and Antonio d'Agostini. Later worked as an assistant of František Karel Palko in a church St. Nicolas placed in Lesser Town od Prague. The illusive painting of architecture was his specialization. He worked primarily in Czech, but for example he decorated also a church in Vranov near Brno or a church in Dresden. The essential part of thesis is catalog of realizations, which contains a lot of extant works, but also a few realizations, which during the ages were destroyed.

No description available.

Este trabalho investiga os afrescos da cidade de Pompeia, especificamente aqueles que representam a leitura e/ou a escrita e corpos leitores e/ou escritores. Foi realizado um estudo sobre a escrita e a leitura no mundo antigo, especialmente na Grécia e em Roma, e então a análise de dezoito afrescos com imagens relacionadas às atividades de escrita e leitura, objetivando o alargamento das discussões concernentes à história da escrita e da leitura no mundo antigo, bem como a um uso qualitativo das imagens como fontes históricas. À luz de teorias da história e da história da arte, constatou-se que, além de uma utilização puramente funcional, a escrita e a leitura exerceram sobre os pompeianos um poder de enobrecimento de suas figuras, além de possibilitarem o atingimento do sublime, através da literatura, e do sagrado, através dos textos e oráculos divinos. / This research investigates the frescoes in the city of Pompeii, specifically those portraying reading and/or writing and reading and/or writing bodies. A study was done on the reading and writing in the ancient world, especially in Greece and Rome, and then an analysis was done on eighteen frescoes portraying images related to the activities of reading and writing, aiming to heighten discussions concerning the history of reading and writing in the ancient world, as well as qualitative use of images as historical sources. Under historical and art history theories, we have observed that, beyond a purely functional use, writing and reading brought upon the people of Pompeii an ennoblement of their figures, and enabled them to achieve sublimity, through literature, and sacredness, through divine texts and oracles.

Este trabalho investiga os afrescos da cidade de Pompeia, especificamente aqueles que representam a leitura e/ou a escrita e corpos leitores e/ou escritores. Foi realizado um estudo sobre a escrita e a leitura no mundo antigo, especialmente na Grécia e em Roma, e então a análise de dezoito afrescos com imagens relacionadas às atividades de escrita e leitura, objetivando o alargamento das discussões concernentes à história da escrita e da leitura no mundo antigo, bem como a um uso qualitativo das imagens como fontes históricas. À luz de teorias da história e da história da arte, constatou-se que, além de uma utilização puramente funcional, a escrita e a leitura exerceram sobre os pompeianos um poder de enobrecimento de suas figuras, além de possibilitarem o atingimento do sublime, através da literatura, e do sagrado, através dos textos e oráculos divinos. / This research investigates the frescoes in the city of Pompeii, specifically those portraying reading and/or writing and reading and/or writing bodies. A study was done on the reading and writing in the ancient world, especially in Greece and Rome, and then an analysis was done on eighteen frescoes portraying images related to the activities of reading and writing, aiming to heighten discussions concerning the history of reading and writing in the ancient world, as well as qualitative use of images as historical sources. Under historical and art history theories, we have observed that, beyond a purely functional use, writing and reading brought upon the people of Pompeii an ennoblement of their figures, and enabled them to achieve sublimity, through literature, and sacredness, through divine texts and oracles.

Este trabalho investiga os afrescos da cidade de Pompeia, especificamente aqueles que representam a leitura e/ou a escrita e corpos leitores e/ou escritores. Foi realizado um estudo sobre a escrita e a leitura no mundo antigo, especialmente na Grécia e em Roma, e então a análise de dezoito afrescos com imagens relacionadas às atividades de escrita e leitura, objetivando o alargamento das discussões concernentes à história da escrita e da leitura no mundo antigo, bem como a um uso qualitativo das imagens como fontes históricas. À luz de teorias da história e da história da arte, constatou-se que, além de uma utilização puramente funcional, a escrita e a leitura exerceram sobre os pompeianos um poder de enobrecimento de suas figuras, além de possibilitarem o atingimento do sublime, através da literatura, e do sagrado, através dos textos e oráculos divinos. / This research investigates the frescoes in the city of Pompeii, specifically those portraying reading and/or writing and reading and/or writing bodies. A study was done on the reading and writing in the ancient world, especially in Greece and Rome, and then an analysis was done on eighteen frescoes portraying images related to the activities of reading and writing, aiming to heighten discussions concerning the history of reading and writing in the ancient world, as well as qualitative use of images as historical sources. Under historical and art history theories, we have observed that, beyond a purely functional use, writing and reading brought upon the people of Pompeii an ennoblement of their figures, and enabled them to achieve sublimity, through literature, and sacredness, through divine texts and oracles.

Cette thèse porte sur le principe même de séquentialité d’images fixes, pour comprendre la différence entre la Bande Dessinée et les différentes formes de narration par images fixes, même les autres arts. Cela nous aide à comprendre pourquoi la Bande Dessinée est devenue un art autonome, pourquoi la Bande Dessinée s’est plus developpée que d'autres formes de narration par images, et quelles sont plus précisément les origines de la Bande Dessinée.Analyser la naissance de la Bande Dessinée signifie donc tracer un parcours à travers des oeuvres, des auteurs ou des mouvements fondamentaux, et considérer les thèmes, les poétiques, les technologies qui l'ont définie à telle ou telle époque. Ce travail vise donc à identifier les oeuvres qui forment une ligne de partage entre le Moyen Âge et l'Âge Moderne. Une analyse historique, mais également paradigmatique, aidera à mieux comprendre comment la Bande Dessinée a évolué, quelles influences ont eu les autres formes d'art (comme la peinture, la littérature, la caricature ou le théâtre) mais surtout, quelles techniques et stratégies ont été mises en place et ont fait évoluer la Bande Dessinée vers un système narratif à base iconique. / This thesis focuses to question the very principle of sequentiality of still images, that is to understand how in Sequential Art this dynamic takes different forms, but at the same time, how Sequential Art can be differentiated from other Arts. This help us to understand why it became an autonomous art, why it has developed more than any other sequential art, how and when the Comic was actually created.Analyze the rise of the Comics means tracing a path through the works, authors and the basic movements, considering the new poetics, themes, techonologies, that have defined this. This work aims to identify works which form a connection between the Middle Ages and the Modern Age. A historical analysis, but also paradigmatic one, will help to better understand how Comics evolved, what influences have had other forms of art (such as painting, literature, theater or caricature) but, above all, which techniques and strategies have been implemented and have changed Comics toward a narrative system based on images.

The present thesis examines Homer's description of the Shield of Achilleus and Minoan miniature frescoes, particularly the Sacred Grove and Dance Fresco and Grandstand Fresco. It uses them as examples to explore the transmission of ideas between cultures - the intensely visual Minoan civilisation of the Bronze Age centred on Crete and the earliest cultural strata of ancient Greece - that preferred different means of representation, painting, and poetry. Because Minoan fresco painting was essentially non-narrative and not accompanied by readable written records, so that "deciphering" its iconography is not an option, the thesis argues that we can learn about general cultural perceptions from interpreting and analysing how techniques of representation in painting and poetry treat the representation of time and space. From the relationship that these techniques establish with the beholders of the representation, we can infer their self-understanding. If the world appears to us as an intricate complex of cultural representations, the way we interact with them reflects our sense of our human place in the world. The non-narrative techniques of Minoan frescoes - particularly the use of vertical perspective, the absence of a fixed point of view, suppressed focalisation, and map-like composition - are shown...