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31	The invisible picture Aragón, Miguel A. 22 August 2012 (has links) This report outlines the conceptual, procedural and formal descriptions of the artistic development I have acquired over the course of the past three years. The current violent events caused by the War on Drugs in México –my home country- led me to this research. Beginning with the idea of erasure as language, I concentrated on the use of processes that are reductive in nature to create the bodies of work mentioned in this report. Thousands of people die in drug-related violence every year in México; by using metaphors and visual metonymies to tie together process and subject matter I explore the idea of perception, memory and transformation. I believe my work is derived from a need to find meaning in these brutal events that repositions the corpse in our field of vision, reminding us that our physical existence is finite. / text Printmaking Juarez Goya Art Erasure Mexican Drug Cartel Wars Teresa Margolles Oscar Muñoz Intaglio Embossing Laser cut
32	Rahmenbestimmungen Funktionen von Rahmen bei Goya, Velázquez, van Eyck und Degas Beyer, Vera January 2005 (has links) Zugl.: Hamburg, Univ., Diss., 2005
33	Out of the vacuum : viewer agency and receptions of Goya's Saturn / Viewer agency and receptions of Goya's Saturn Batario, Jessamine M. 13 June 2012 (has links) This thesis takes the form of a meta-criticism of the hermeneutics of the art-historical enterprise. I begin with an immanent critique of the discipline, paying careful attention to where art historians shift the interpretive focus in the spectrum of maker--object--viewer. After advocating for an increase in our consideration for the viewer in the present context, I then present a synoptic reception model for the interpretation of images in both their original forms and reproduced states. These two modes of viewing hinge upon spatial constructions: that of real spaces (e.g., museums, galleries, etc.) and virtual spaces (e.g., the Internet and other ephemeral media). Instead of relegating reproduced images to the art-historical basement, I argue for the productive interpretation of reproductions through a staged theoretical intervention between Jacques Derrida, Hans-Georg Gadamer, and Walter Benjamin. In order to demonstrate the use of my reception model, I conclude with a case study of a particular image--Francisco de Goya's Untitled (Saturn Devouring One of his Children) of 1820-1823. From the painting's beginnings in a farmhouse in Spain through the vicissitudes of nearly 200 years of grafting--from mural to canvas, Madrid to Paris and back again, and as a reproduced image in its "afterlife"--I analyze the aura of the image as imputed by its viewers. I argue that each subsequent reproduction of the image does not necessarily cause a loss of aura, but that conversely and paradoxically, aura actually increases. I analyze the act of viewing itself not as a passive act of visual consumption, but as an interactive process of cumulative production. In this fashion, the reproduced image can play a significant role in the formation of identities and possesses the phenomenological potential to lead to increased self-awareness. / text Hermeneutics Phenomenology Reception model Goya Saturn Visual consumption Immanent critique Internet Identity construction Black paintings Pinturas Negras Art history Art history methods
34	La Junte des Philippines de Goya (1815) : regard sur le pouvoir colonial espagnol et le capitalisme financier Occhietti, Raphaelle 06 1900 (has links) Notre analyse de l’imposante toile de Francisco Goya L’Assemblée de la Compagnie Royale des Philippines dite La Junte des Philippines (1815) vise à sortir cette œuvre de l’isolement où les études antérieures l’ont en grande partie maintenue. Nous désirons réinsérer ce tableau au cœur des dynamiques artistiques et économiques mondiales à l’orée du XIXe siècle. Le regard lucide que nous portons sur le tableau de Goya s’appuie sur une approche historique issue de la pensée postcoloniale actuelle. Par un renversement de perspective depuis la salle de réunion vers l’empire espagnol, nous plaçons l’œuvre dans une trame de relations mondiales entre la métropole et ses colonies. La Junte des Philippines révèle alors un point de vue particulier sur l’impérialisme espagnol en déclin. Loin d’être close sur elle-même, l’œuvre articule une série de thématiques qui répondent aux exigences artistiques de l’époque, notamment de la bourgeoisie libérale. Le traitement qu’opère La Junte de la commémoration d’une rencontre d’actionnaires met au jour une conception visuelle du capitalisme mercantile et financier présent en Espagne et en Angleterre. L’intrigue artistique que déploie Goya possède une signification d’envergure historique qui contribue à la valeur d’actualité de La Junte des Philippines. / This thesis is a study of Francisco Goya’s imposing painting The Assembly of the Royal Company of the Philippines, more commonly known as The Junta of the Philippines (1815). It seeks to remove the work from the isolation in which previous studies have largely kept it confined and to situate it at the core of the global artistic and economic nexus that marked the early nineteenth century. My account is informed by a historical approach that is anchored in current postcolonial theory. By inverting the painting’s perspective, to open it from the assembly room onto the Spanish Empire, I place the work at the centre of a rich web of global relationships that link the metropole and its colonies. Seen in this light, the Junta of the Philippines evinces a particular point of view of the Spanish Empire in decline. Far from being closed in on itself, the work articulates a series of themes that respond to the artistic demands of the time, namely those of the liberal bourgeoisie. Goya’s depiction of a meeting of stockholders expounds a particular visual conception of British and Spanish merchant and financial capitalism. The artistic intrigue that Goya weaves in The Junta of the Philippines reverberates on a broad historical scale that confirms the painting’s present-day relevance. / Nuestro estudio sobre la imponente pintura de Francisco Goya La Asamblea de la Compañía Real de Filipinas llamada La Junta de Filipinas (1815) pretende sacar esta obra del aislamiento donde los estudios anteriores lo mantuvieron en gran parte. Deseamos reinsertar este cuadro al corazón de las dinámicas mundiales artísticas y económicas al lindero del siglo XIX. La mirada lúcida que damos al cuadro de Goya se apoya en un enfoque histórico nacido del pensamiento poscolonial actual. Por una caída de perspectiva desde la sala de reuniones hacia el imperio español, colocamos la obra en una trama de relaciones mundiales entre la metrópoli y sus colonias. La Junta de Filipinas revela entonces un punto de vista particular sobre el imperialismo español en decadencia. Lejos de ser cerrada, la obra misma articula una serie de temáticas que responden a las exigencias artísticas de la época, particularmente de la burguesía liberal. El tratamiento que opera La Junta de la conmemoración de un encuentro de accionistas da a luz una concepción visual del capitalismo mercante y financiero presente en España y en Inglaterra. La intriga artística que despliega Goya posee un significado de envergadura histórica que contribuye al valor de actualidad de La Junta de Filipinas. Histoire de l’art XIXe siècle – Espagne Francisco Goya y Lucientes Compagnie Royale des Philippines Imaginaire des colonies Bourgeoisie libérale Salle de finances Art history 19th century – Spain Francisco Goya y Lucientes Royal Company of the Philippines Colonial imaginary Liberal bourgeoisie Finance room
35	La Junte des Philippines de Goya (1815) : regard sur le pouvoir colonial espagnol et le capitalisme financier Occhietti, Raphaelle 06 1900 (has links) Notre analyse de l’imposante toile de Francisco Goya L’Assemblée de la Compagnie Royale des Philippines dite La Junte des Philippines (1815) vise à sortir cette œuvre de l’isolement où les études antérieures l’ont en grande partie maintenue. Nous désirons réinsérer ce tableau au cœur des dynamiques artistiques et économiques mondiales à l’orée du XIXe siècle. Le regard lucide que nous portons sur le tableau de Goya s’appuie sur une approche historique issue de la pensée postcoloniale actuelle. Par un renversement de perspective depuis la salle de réunion vers l’empire espagnol, nous plaçons l’œuvre dans une trame de relations mondiales entre la métropole et ses colonies. La Junte des Philippines révèle alors un point de vue particulier sur l’impérialisme espagnol en déclin. Loin d’être close sur elle-même, l’œuvre articule une série de thématiques qui répondent aux exigences artistiques de l’époque, notamment de la bourgeoisie libérale. Le traitement qu’opère La Junte de la commémoration d’une rencontre d’actionnaires met au jour une conception visuelle du capitalisme mercantile et financier présent en Espagne et en Angleterre. L’intrigue artistique que déploie Goya possède une signification d’envergure historique qui contribue à la valeur d’actualité de La Junte des Philippines. / This thesis is a study of Francisco Goya’s imposing painting The Assembly of the Royal Company of the Philippines, more commonly known as The Junta of the Philippines (1815). It seeks to remove the work from the isolation in which previous studies have largely kept it confined and to situate it at the core of the global artistic and economic nexus that marked the early nineteenth century. My account is informed by a historical approach that is anchored in current postcolonial theory. By inverting the painting’s perspective, to open it from the assembly room onto the Spanish Empire, I place the work at the centre of a rich web of global relationships that link the metropole and its colonies. Seen in this light, the Junta of the Philippines evinces a particular point of view of the Spanish Empire in decline. Far from being closed in on itself, the work articulates a series of themes that respond to the artistic demands of the time, namely those of the liberal bourgeoisie. Goya’s depiction of a meeting of stockholders expounds a particular visual conception of British and Spanish merchant and financial capitalism. The artistic intrigue that Goya weaves in The Junta of the Philippines reverberates on a broad historical scale that confirms the painting’s present-day relevance. / Nuestro estudio sobre la imponente pintura de Francisco Goya La Asamblea de la Compañía Real de Filipinas llamada La Junta de Filipinas (1815) pretende sacar esta obra del aislamiento donde los estudios anteriores lo mantuvieron en gran parte. Deseamos reinsertar este cuadro al corazón de las dinámicas mundiales artísticas y económicas al lindero del siglo XIX. La mirada lúcida que damos al cuadro de Goya se apoya en un enfoque histórico nacido del pensamiento poscolonial actual. Por una caída de perspectiva desde la sala de reuniones hacia el imperio español, colocamos la obra en una trama de relaciones mundiales entre la metrópoli y sus colonias. La Junta de Filipinas revela entonces un punto de vista particular sobre el imperialismo español en decadencia. Lejos de ser cerrada, la obra misma articula una serie de temáticas que responden a las exigencias artísticas de la época, particularmente de la burguesía liberal. El tratamiento que opera La Junta de la conmemoración de un encuentro de accionistas da a luz una concepción visual del capitalismo mercante y financiero presente en España y en Inglaterra. La intriga artística que despliega Goya posee un significado de envergadura histórica que contribuye al valor de actualidad de La Junta de Filipinas. Histoire de l’art XIXe siècle – Espagne Francisco Goya y Lucientes Compagnie Royale des Philippines Imaginaire des colonies Bourgeoisie libérale Salle de finances Art history 19th century – Spain Francisco Goya y Lucientes Royal Company of the Philippines Colonial imaginary Liberal bourgeoisie Finance room
36	Rahmenbestimmungen : Funktionen von Rahmen bei Goya, Velázquez, van Eyck und Degas / Beyer, Vera. January 2008 (has links) Based on the author's dissertation (doctoral)--Universität Hamburg, 2005. / Includes bibliographical references (p. 237-252).
37	Walter Benjamin und die Kunst des Graphischen Matsui, Takaoki 16 June 2008 (has links) Als Bild- und Medientheoretiker hinterließ Walter Benjamin nicht nur die berühmte „materialistische“ Auratheorie, sondern auch scheinbar esoterische Theorien der bildenden Kunst. Der Zusammenhang und Inhalt der beiden Theorien können erhellt werden, wenn wir genauer sehen, wie er sich dort mit der Beschreibung der Kindheit beschäftigte. Der Ursprung seiner Auratheorie liegt in seiner „Tagebuch“-Literatur, wo er in die melancholisch gefärbten Visionen der „Jugend“ zu versinken pflegte. Der topologische Aufbau dieser Visionen – ihre eigenartig „photo-graphische“ Struktur – soll mithilfe der Zweiten Topik Freuds analysiert werden. Und aufgrund dieser Analyse werden wir eine Revision der üblichen (übersimplifizierten) Gegenüberstellung von seinem historischen Materislismus und dem „apolitischen Formalismus“ Clement Greenbergs vornehmen. Greenbergs Kunstkritik dient aber auch zur Entschlüsselung der „esoterischen“ Bildtheorien Benjamins. Die letzteren verwirren uns vor allem deshalb, weil dort das Sehen der Kinder zuerst (um 1915) irreführender Weise nach den üblichen Dichotomien der Romantik (Linie / Farbe; männlich / weiblich; erwachsen / kindlich…) beschrieben worden war; ihren eigentlichen Inhalt konnte Benjamin erst präzisieren, als er – anhand seiner Betrachtungen der graphischen „Horizontalität“ und nach seinen Spekulationen über das magische Wesen von „Zeichen“ und „Mal“ (1917) – eine Trichotomie der Bildgattungen (Malerei / Graphik / getuschtes Bild) aufgestellt hatte. Wir rekonstruieren diese Theorieentwicklungen nicht nur durch detaillierte Bild- und Textanalysen, sondern auch unter Heranziehung seines „materialistischen“ Spätwerks (der Passagenarbeit und der „Berliner Kindheit“), da erst im letzteren der einzigartige Zusammenhang zwischen seinen frühen Bildtheorien und seiner Geldtheorie als „Konstellation“ sichtbar werden sollte. / Walter Benjamin’s writings on visual arts include not only the famous „materialistic“ essays on aura but also seemingly esoteric notes on painting and the graphic arts. The content and correlation of all these writings become clear once we grasp how they perform the task of describing childhood experience. His theory of aura was prefigured in his philosophical „Diaries“ where his struggle with his depression was often followed (or interrupted) by dreamlike visions of "youth". The discursive structure of these visions – which will prove to be a strangely „photo-graphic“ one – is to be analyzed by using the second Freudian topology as a comparison. Through this analysis we will be able to reconsider the well-known (oversimplified) antagonism between his historical materialism and the „apolitical formalism“ of Clement Greenberg from a new viewpoint. Greenberg’s criticism helps us also to decipher the „esoteric“ texts of Benjamin. They puzzled scholars especially because they described children’s vision at first (about 1915) misleadingly in accordance with the conventional dichotomies of Romanticism (line / color; masculine / feminine; adult / child…); Benjamin could specify their original implication only after he had set up – based on his reflexions on the „horizontality“ of the graphic arts, and by speculating further on the magic nature of „Zeichen“ and „Mal“ (1917) – a trichotomy of genres (painting / the graphic arts / ink and watercolor illustrations). We will reconstruct this development of his theory not only through detailed analyses of related works of art but also in view of his „materialistic“ late writings (the Arcades Project and „Berlin Childhood“), for it is only there that we find out an essential relation – a singular „constellation“ – of his early art theory and his theory of money. Aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Paul Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raffael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer Antinomie des Geschmacks ästhetische Idee Drogen Farbkonstanz Geldschleierthese Horizontalität Humor Mal Melancholie Tiergarten Todestrieb Urphänomen aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raphael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer aesthetic idea antinomy of taste color constancy death drive drugs goethean phenomenology horizontality humour „Mal“ melancholy veil of money zoo 750 Malerei 47 Photographie CI 1397 ddc:750
38	Jackson Pollock, 1930-1955 : the influence of the Old Masters Roncone, Natalie Maria January 2011 (has links) 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. 708
39	Zrcadlo reality v obrazech snů 19. a 20.století. Tvůrčí individualita versus chaos doby / The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries. Creative Individuality versus the Chaos of the Time Šmejkalová, Adriana January 2018 (has links) ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...
40	Top management strategising practices and thinking style: a case study of a South African retailer Kekana, Ervine Selati Litlhokoe 02 1900 (has links) Abstracts in English and Southern Ndebele / “We tend to think of the mind of an organisation residing in the … top management …but… [strategic] intelligence is not organised in a centralised structure but much more like a beehive of small simple components… ” Kevin Kelly, (1994: 166283). From the quote above, it is implied that the strategising practices of, among others, top managers, are the ‘small simple components’ that build towards the overall strategy of an organisation. The overall strategy of any organisation directly influences the performance thereof. As strategists, top managers use their thinking styles to influence the new strategic practices they endorse and those that are discarded, thereby impacting the competitive strategy employed by the organisation and ultimately organisational performance. This study investigated the rapport between the strategising practices used by top managers and their thinking styles. Based on a single illustrative case, this study utilised mixed data obtained from of 33 interviews and 79 questionnaires to describe the possible relationship between thinking styles and strategising practises. The results show that at the case organisation, thinking styles of top managers differ depending on the situation in which they find themselves. A possible relationship between thinking styles and strategising practises, at the case organisation, is further implied. / “Se taele go nagana ge monagano we mokhadlo lo o hlala e tulu, mara lehlelo le go hlaganepha le ga bekwa ge Ndlela le ngore esekhathi, mara kgulu go fana ne lekhaya le tenosi le le le gase bodese le lengane.” Kevin Kelly, (1994:166283). Go leso setsopolwe e tulu, era gore tedlela te go hlela, go leto te khona, baphathi ba se tulu, geto tedo te tengane leto te gase bodese le to te akha lehlelo gemoga le mokhadlo. Lehlelo gemoga le mokhadlo o monye na o monye le dlolela e go etene ge tedo. Jene ge bahleli, baphathi ba setulu ba beregesa tedlela tabo te go nagana, go tshwaetja tedlela te tetsha leto ba te vumelago na leto ba te kganago. Ge go eta jalo te thella lehlelo lelo le phalesanago lelo lele beregeswe mokhadlo, e maphellweni na leso mokhadlo o se yetago. Go bala lokhu, go ete gore go be ne go vesesana e khathe ge tedlela te go hlela leto te beregeswa mbaphathi ba setulu ne Ndlela leyo ba nagana gayo. Go beka nnye ye tedlela leto ba te beregeselego, go beregeswe tedaba leto te phoma go 33 ye bado labo be ba butiswa go kereya leso be ba fona go seva ne mebotiso e 79 leyo e hlalosa nkgonagalo ye go talana e khathe ge mehuda ye go nagana ne ndlela leyo go hlelwa gayo. Mephomela e bonesa gore lapho e mekhadlweni, Ndlela ye go nagana ge baphathi ba setulu e ya phabana go ya ge gore ba te kereya ba se sejamweni se se jane. Nkgonagalo ye bodlelwano e khathe ge Ndlela ye go nagana ne lenaneo le le le ladelwago e tedweni te nhlagano, te beregeselwe. Mave e bohlogwa: Bophathi ba setulu, bakgoni be go hlela, baberegi be go hlela, tedlela leto go hlelwa gato, Ndlela leyo go naganwa gayo; go khetha, mekgwa ye go nagana ge botalo, tedlela te go suga endabeni ennye goya go ennye. / Business Management / M. Com. (Business Management) Top management Strategists Strategy practitioners Strategising practices Thinking styles Choice-making Thinking styles inventory Discursive practices Bophathi ba setulu Bakgoni be go hlela Baberegi be go hlela, Tedlela leto go hlelwa gato Ndlela leyo go naganwa gayo Go khetha Mekgwa ye go nagana ge botalo 658.40920968

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