Vers 1296, la jeune communauté des Franciscains engage un artiste pour peindre un cycle commémoratif de la vie de saint François, leur saint patron, dans leur monument religieux d'Assise, érigé à partir de 1228. L'attribution giottesque de cette peinture de vingt-huit fresques est l'objet d'une polémique d'attribution depuis la fin du 18e siècle. L'objectif de notre ménoire est d'analyser les méthodes d'attribution utilisées dans ce débat. Les partisans giottesques considèrent que l'interprétation des documents d'archives et les commentaires des contemporains constituent une preuve suffisante d'attribution à Giotto, ce à quoi s'opposent leurs détracteurs. D'autres auteurs ont appliqué diverses méthodes d'analyse stylistique à l'ensemble de ces fresques et à un corpus qui lui est rattaché et émettent des hypothèses d'attribution contradictoires. Enfin, la technologie des restaurateurs et la découverte récente de la fresque d'un contemporain de Giotto introduisent des arguments qui remettent en question les hypothèses d'attribution traditionnelles. Nous explorerons tour à tour les trois domaines d'attribution concernés par cette polémique. Nous verrons comment a fonctionné l'attribution fondée sur les documents d'archives. Nous jetterons un regard sur les méthodes d'analyses stylistiques et sur les auteurs qui ont marqué cette question d'attribution. Puis, nous discuterons des nouvelles méthodes d'attribution où un restaurateur justifie son hypothèse d'attribution à partir d'éléments de la production de l'objet d'art. / Around 1296, the young Franciscan Brotherhood hired an artist to paint a commemorative cycle of the life of St. Francis, their saint Patron, for their religious monument of Assisi, erected in 1228. The attribution to Giotto of this cycle of twenty-eight frescoes has been the object of a debate since the eighteenth-century. This thesis presents the methods used to discuss this attribution. The partisans of Giotto feel that the interpretation of archives and the commentaries by the contemporaries of the painter Giotto are sufficient to justify this attribution, which their opponents however contest. Other critics have applied various methods of analysis to the stylistic aspect of the frescoes and to a corpus attached to it and have come up with contradictory attributions. Finally, the advanced restoration technology and the recent discovery of a fresco attributed to a contemporary of Giotto have challenged even further the traditional attribution hypothesis. We will look at each area of attribution discussed in this debate. We will consider the method of the attribution based on documents. We will also reflect on the stylistic methods of attribution and on the authors who made distinctive remarks on our subject. In the end, we will study the new methods of attribution used by the restorers as they attempt to come up with an attribution based on material data drawn from the genetic study of the art object. / Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

本論文以基督教繪畫藝術開始探討基督教藝術之抽象思惟，從中闡釋深藏西洋文化裡的抽象成因。進而以早期基督教之標記和聖像揭開基督教繪畫藝術之章節，分析處於立像與不立像的兩難間，基督教繪畫藝術是如何發展出來的。 在探討基督教繪畫藝術之時，也以自我的繪畫創作與體驗，來做為研究所學習階段的統整。藉此省思自己的繪畫成長過程與對繪畫學習的態度。總而言之，藝術性價值在於其革新的創作意念，針對此，喬托提出了繪畫創作的主張：「人其實可以透過自己的感官和知覺，而不是透過別人的指示或學來的概念，來了解上帝和上帝所創造的這個世界！」也因而筆者深受其創作及宗教信仰的影響，有了撰寫本文的動機，希望藉此論文的撰寫，能探究出喬托那奧秘的繪畫表現方式與其深層的畫作內涵，以增添自我繪畫創作的想像力及畫面的創作空間。當然最重要的是，能在未來的自我創作中有更突破性的發展，繼而揮灑出繪畫創作生命中的自我潛藏能量。 / In this thesis,Christianity began to explore the art of painting abstract art Contemplative Christian,From deep causes of abstract interpretation of Western culture. Further to the mark and icons of early Christian art Christian paintings opened chapters, Analysis is not between the statue and the statue of the dilemma is how to develop Christian painting out. At the time to explore the Christian art of painting, but also to self-painting and experience to do the learning phase of the Institute integration. Thereby reflect upon their own growth process of painting and painting the attitude of learning. All in all, the artistic value lies in its innovative creative ideas for this, Giotto painting ideas put forward: "Man can actually through their senses and perception, rather than concepts or instructions by others learned to know God and God created this world!" The author thus also affected by its creation and religion, have the motivation to write this article, hoping to write papers, to explore the mysteries of Giotto's paintings that expression of its deep meaning of the paintings, To add creativity and imagination of self-painting the picture. Of course, most importantly, to have more breakthroughs in the future development of self-creation, and then sway the self-life painting hidden energy. / 目次 摘要……………………………………………………………………i 表目次…………………………………………………………………iii 圖錄次………………………………………………………………iv 第一章 緒論……………………………………………………………1 第一節 創作研究動機與目的……………………………………1 第二節 創作研究範圍……………………………………………1 第三節 創作研究方法……………………………………………3 第二章 初始的基督教繪畫藝術………………………………………4 第一節 何謂基督教繪畫藝術？…………………………………5 第二節 早期的基督教繪畫作品…………………………………13 第三章 基督教藝術的象徵性意義…………………………………27 第一節 早期基督教藝術…………………………………………27 一、早期基督教藝術的標記………………………………29 二、早期基督教藝術的聖像………………………………38 第二節 拜占庭藝術………………………………………………44 第三節 文藝復興時期的基督教繪畫藝術………………………47 一、正面的神性詮釋………………………………………48 二、負面的神性詮釋………………………………………51 第四章 基督教繪畫藝術的代表性畫家—喬托……………………54 第一節 喬托的繪畫生涯…………………………………………55 一、生平簡介………………………………………………55 二、繪畫成就………………………………………………58 三、繪畫創作思維…………………………………………59 第二節 喬托的經典宗教畫作剖析………………………………63 第五章 自我創作形式與內容………………………………………70 第一節 自我創作主題之建構……………………………………70 一、題材的選擇……………………………………………70 二、媒材的運用……………………………………………74 第二節 作品實踐…………………………………………………75 第六章 結論…………………………………………………97 參考書目……………………………………………………………98 翻譯索引……………………………………………………………100

Zugl.: Trier, Univ., Diss., 2004

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references (leaves 56-62).

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references (leaves 56-62).

Ökningen av sekvenseringsdata har skapat ett behov av att ta fram nya och flexibla analysmetoder för att kunna analysera datan. Många sekvenseringsteknologier har utvecklats genom åren, med olika syften och de är idag mer specialiserade. Kostnaden för att sekvensera har även sjunkit kraftigt och idag är kostnaden bara en bråkdel av kostnaden för 20 år sedan.   En av dessa heter Spatial Transcriptomics där mRNA kan analyseras med Spatiell upplösning. Experimenten skapar stora mängder data och analysmetoder som ursprungligen var utvecklade för scRNA-seq har nu ocksp blivit mer specialiserade mot spatial data. En analysmetod som använts länge är Seurat som utvecklades av Satija labbet under 2015. Men de senaste åren har även nya metoder utvecklats. Två av dessa, Giotto och Squidpy kommer att jämföras med Seurat som referens för att reda ut hur bra de presterar för Spatial Transcriptomics analyser. Datan som kommer användas kommer från hjärnvävnad från fyra olika möss som testades i NASAs RR3 mission. Två av mössen är av ”flight” skick och kommer jämföras med två stycken ”ground” kontroller. I data analysen kommer Quality Control, Normalization, Integration, Dimensional reduction, Clustering och Differential Expression analysis testas. Förutom de steg som testas i analysen kommer även parametrar som analysmetodernas flexibilitet, duration och prestation att testas och jämföras. Resultaten i detta projekt visade att Seurat presterar bättre än Giotto och Squidpy utifrån de parametrar som testas. / The increase in data received from sequencing has created a need for new and accurate frameworks to analyze the data. There are many sequencing technologies developed for different purposes. They have become more specialized and the cost compared to 20 years ago is just a fraction. One of the technologies is Spatial Transcriptomics, where mRNA can be analyzed with spatial resolution. The experiments has high throughput, and frameworks that was original developed for scRNA-seq has also started to be more specialised towards spatial data. Seurat has been widely used for that purpose for many years and was developed by the Satija Lab. But many more frameworks have been developed. In this project’s scope, two other frameworks, Giotto and Squidpy, will be benchmarked with Seurat as the golden standard and a referece to examine how the frameworks perform with Spatial Transcriptomics data as input. The dataset consists of four mouse brain tissue sections from the NASA RR3 mission. Two of the mouse brains are of ”flight” condition while the two others are used as ”ground” controls. The pipeline used in all three frameworks includes Quality Control, normalization, integration, dimensional reduction, clustering, and differential expression analysis. Except for the pipeline steps other parameters has been tested including: the flexibility of the frameworks, the duration of analysis, and the performance. The results showed that Seurat outperforms Giotto and Squidpy according to the tested parameters. Mainly because of more developed integration features when working with multiple data. But both Squidpy and Giotto shows great potential and has a lot of features that was not useful for this project, but however can for other projects be very promising.

El eje central de esta tesis gira en torno al estudio del espacio perspectivo en la pintura primitiva italiana. Todos los argumentos y conclusiones extraídos proceden de una misma reflexión, la de descifrar el proceso utilizado por pintores como Giotto o Duccio al intentar resolver la sensación de profundidad en sus obras. En base a estos términos partimos desde la hipótesis de que los procesos de construcción espacial, ya sean geométricos o mentales, mantienen unas pautas similares, pudiendo simplificarlos e identificarlos como una serie de esquemas seudo-perspectivos. El principal objetivo de nuestro estudio será el de lograr traducir y simplificar dichos modelos espacio-perspectivos, con la finalidad de conseguir un conjunto de esquemas perspectivos válidos para la creación artística. Para ello hemos analizado un número de obras representativo de este período. El resultado de los análisis y su clasificación nos ha ayudado a entender el espacio perspectivo del Trecento y del Quattrocento italiano. Además, el proceso seguido para extraer dichos esquemas, impregnados del indudable valor plástico de las obras estudiadas, nos ha servido como herramienta en el intento de explorar nuevos caminos en la representación perspectiva. En base a esta idea hemos intentado conseguir modelos espaciales útiles para la creación artística sustentados en los resultados conseguidos. Con este propósito hemos ejemplificado cada modelo perspectivo mediante geometrías sencillas, capaces de mostrar el resultado obtenido y su posible extrapolación al campo artístico. / Conesa Tejada, S. (2011). PERSPECTIVA NATURALIS Y PERSPECTIVA ARTIFICIALIS, EL ESPACIO PERSPECTIVO EN LA PINTURA PRIMITIVA ITALIANA. PROPUESTAS PARA LA CREACIÓN ARTÍSTICA [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/11002

The aim of this essay is to examine and compare how virtue was depicted in the visual arts in medieval and renaissance Italy: why it was depicted this way; how the depiction of virtues may have differed between the two periods and, if so, what caused it to change. The essay first examines and analyses the history of virtue, beginning in classical antiquity, and the evolution of virtue through the Middle Ages and the virtues’ role in society and art. It follows with a close examination of Giotto di Bondone and his grisaille frescoes of the virtues and vices in the Scrovegni Chapel in Padua. The essay then examines the role of virtue in renaissance society and art, followed by a close examination of Raphael and his frescoes of the heavenly virtues in the Stanza della Segnatura in The Vatican Palace in Rome. The essay concludes with a discussion of how the two periods differed in their depiction of virtue and why.

This dissertation examines the practice of embedding devotional objects, such as relics and painted panels, into mural images in Italy between the eleventh and fourteenth centuries. Examples can be found as far south as Amalfi, and as far north as Lombardy, and in a variety of ecclesiastical institutions, ranging from urban cathedrals, remote hermitages, and influential monastic centers. Yet despite its widespread application—found even in the Arena Chapel in Padua—the practice has never been systematically studied. Older studies of the sites taken up in this dissertation generally omit mention of their embedded objects altogether, either because the objects were seen as incidental to the larger image in which they were set, or because their inclusion did not follow certain post-medieval parameters of artistic progress. The works of this study elide traditional divisions within the study of medieval art, traversing the categories of icon and narrative, portable and monumental, and “image” and “art.” This study contends that medieval image-makers engaged the aesthetic and symbolic potential of mixing diverse media. The introduction gives an analysis of the notions of “medium” and “mixture” in the Middle Ages in order to elaborate the heuristic concepts that drive the ensuing chapters. Chapters 1-3 each examine a specific type of embedded object, and consider the various modes of combination exhibited therein. Chapter 1, “Assimilation,” examines relics that were embedded within mural images, and focuses on the apse mosaic of San Clemente in Rome, ca. 1120. Chapter 2, “Fragmentation,” analyzes the insertion of circular wooden panels in murals, and centers on the apse fresco of Santa Restituta in Naples, ca. 1175. Chapter 3, “Mediation,” considers the rectangular panel of God in the Arena Chapel in Padua, produced by Giotto between 1303 and 1305. To recuperate the intermedial practice of embedding objects in mural images, I examine the technical and aesthetic features of mixed media murals in relation to coeval understandings of mixture, media, and mediation. It was a practice that involved an understanding of the mural image not just as a flat surface for pictorial elaboration, but as a physical and spatial entity that could be manipulated and thematized within the image itself. By incorporating relic or panel into a mosaic or frescoed mural, medieval image-makers nested objects traditionally viewed as portable and venerable, into one understood as fixed and site-specific. This maneuver gave the mural a stratified quality of assemblage, producing registers of difference and ambiguity between container and contained, image and object, surface and depth. Throughout the dissertation, I explore these dialectics, demonstrating how and to what ends embedded objects establish difference, only to transcend it. The ambivalent understandings of mixture in the twelfth and thirteenth centuries—sometimes a hybrid, at other times, a metamorphosis— inform my analysis of the mixed representational systems of this study. The period may be characterized by a growing intellectual interest in the observation and manipulation of physical substances, the study of which was seen to reveal the connective fabric of God’s cosmic order. The works studied here participate in this broader attention to the processes of the natural world. I therefore consider how medial combinations were seen to signal analogous behavior in the mixtures discussed by theologians, natural philosophers, and artists. Attending to both the constituent parts and the symbolic value of their combination, I show how the act of embedding worked by analogy to figure the theological processes of assimilation, fragmentation, and mediation.

The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.