A presente tese versa a respeito das correspondências existentes entre a obra de dois dos mais importantes pintores flamengos, Hieronymus Bosch e Petrus Bruegel. A influência que Bosch (145?-1516) exerceu em Bruegel (15??-1569) é conhecida e mencionada, ainda que em termos gerais, por quase todos seus estudiosos. Este trabalho procura precisar alguns de seus aspectos. A influência de Bosch na obra de Bruegel apresenta-se não como algo fortuito ou resultante de meros traços de estilo, mas materializado em uma linguagem simbólica comum construída por suas figuras. Bruegel se apropria da linguagem pictórica de Bosch, desenvolve-a e com ela desenha várias de suas obras. É com essa mesma linguagem que Bruegel dá expressão a seu anticlericalismo. Em épocas de perseguição à heresia, o símbolo pictórico constitui um conveniente esconderijo para o ataque à Igreja e parece ter sido refúgio comum dos dois pintores. Existe entretanto uma obra de Bruegel em que a influência de Bosch parece estar ausente, trata-se de seu Procissão ao Calvário (Viena, 1564). Todavia, como se procurará apontar, há grande influência do famoso tríptico de Bosch Carro de Feno (1490, Escorial) nessa obra. Bruegel fez em seu Procissão ao Calvário uma espécie de releitura da pintura de Bosch, apesar de acrescentar novos significados. Desvendando um pouco da linguagem bruegueliana encontramos na Procissão ao Calvário uma alusão precisa e ampla ao Carro de Feno de Bosch. A obra de Bruegel parece comportar uma paráfrase velada do quadro de seu antecessor, além dar expressão às mesmas críticas. A temática de ambas as obras também é comum: a queda do homem, tema muito recorrente na arte renascentista. / This thesis deals with the connections between the work of two of the most important Flemish painters, Hieronymus Bosch and Petrus Bruegel. The influence Bosch (145 ? - 1516) exercised on Bruegel (15 ?? - 1569) is acknowledged and mentioned, even if only in general terms, by almost all scholars who study the authors. This work attempts to further analyze certain aspects of these connections. We are going to argue that the influence of Bosch on Bruegels work is not accidental or the result of mere traces of style; it is, in fact, materialized in a common symbolic language built by the figures he painted. Bruegel appropriated Boschs pictorial language, developed it and incorporated it in several of his paintings. Bruegel used this same language in order to express his anticlericalism. In times of persecution against heresy, the pictorial symbol was a convenient hiding place for the attack of the Church, and it seems to be, for both painters, a common place of refuge. There is one of Bruegels work in which the influence of Bosch seems to be absent, though: the \"Way to Calvary\" (Vienna, 1564). We are going to state, however, that there is a great influence of the famous triptych of Bosch \"Haywain\" (1490, Escorial) on this work. There is evidence to suggest that Bruegel, in his \"Way to Calvary\", carried out a kind of reinterpretation of Bosch\'s painting, although he also added new meanings. Unveiling a little Bruegels language, it is possible to find in \"Way to Calvary\" a specific and broad allusion to Boschs \"Haywain\". Bruegels work seems, thus, not only to contain a paraphrase of his predecessors triptych, but also to be an expression of the same criticism. This is further suggested by the fact that the theme of both works is common: the fall of man, which was a very recurrent theme in Renaissance art.

Thesis--Stockholm. / Includes bibliographical references (p. 127-139).

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-03-28T19:37:25Z No. of bitstreams: 2 Dissertação - Tiago Varges da Silva - 2015.pdf: 6938145 bytes, checksum: 975d3f187427dc99a665c38d7f5068ba (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-29T15:10:15Z (GMT) No. of bitstreams: 2 Dissertação - Tiago Varges da Silva - 2015.pdf: 6938145 bytes, checksum: 975d3f187427dc99a665c38d7f5068ba (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-29T15:10:15Z (GMT). No. of bitstreams: 2 Dissertação - Tiago Varges da Silva - 2015.pdf: 6938145 bytes, checksum: 975d3f187427dc99a665c38d7f5068ba (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-09-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present dissertationaims at analyzing the historical processes which enabled the creation of sin as a fundamental element of Christian theology and, also, at reflecting upon how the iconographic resource was determinative in those processes. Therefore, we have utilized the works of the Flemish painter Hieronymus Bosch (1450-1516) that were produced between the years 1485 and 1516.We understand that Bosch is noteworthy among the artists who tried to represent the human vices, especially because he made use of everyday life elements to represent the theme. For this reason, we have developed a dialogue between Bosch‘s work and a number of other artists‘ works which have also approached sin as an object, in an attempt to problematize those images from the iconographic method. We believe that Bosch‘s work is part of a process of intense preoccupation with sin and its consequences, which is a characteristic of the transitional period from the medievalera to the Renaissance. / A presente dissertação tem como objetivos analisar os processos históricos que possibilitaram a criação do pecado como elemento fundamental da teologia cristã e refletir sobre como o recurso iconográfico foi determinante em tais processos. Para tanto, lançamos mão da obra do pintor flamengo Hieronymus Bosch (1450-1516) produzida entre os anos de 1485 e 1516, por considerarmos que ele se destaca entre os artistas que se dedicaram a representar os vícios humanos, sobretudo por utilizar elementos da vida cotidiana para representar esse tema. Para tanto, desenvolve-se um diálogo da obra de Bosch com uma série de trabalhos de outros artistas que também abordaram o pecado como objeto, de forma a problematizar essas imagens a partir do método iconográfico. Acreditamos que sua obra faz parte de um processo de intensa preocupação com o pecado e suas consequências, característica do período de transição do Medievo para a Renascença.

The twenty- five surviving signed clavichords by the Hamburg makers Hieronymus and Johann Hass, covering a period of approximately forty years from 1728 to 1767, represent one of the pinnacles of musical instrument manufacture. From a study of twenty-two of these instruments a number of important clavichord design principles and constructional techniques has been determined. For instance it was found that the construction of the case joints, rack and 8ft bridge were undertaken with the aid of a template, whilst the bridge pins, tuning pins and hitchpins were positioned using a calibrated stick held perpendicular to the spine. By plotting the pin positions it has been possible to determine the method used by Hass (father and son) to space the pins in various multiples of the Hamburg Zoll or inch. Thanks to the family's habit of dating their instruments the evolution of their working methods can be discerned; in general the dimensions of the later instruments of both makers are greater than those of the earlier instruments, but remain in the same proportion. Bridge shape, rack-slot spacing and pin positioning also vary from Instrument to instrument, not because of any haphazard approach to construction but rather as the result of an intentional modification and evolution of clavichord design during the making of a large number of instruments. This research has enabled a positive identification of a clavichord in Koping, Sweden, (where the signature and date are no longer legible) as being the work of Hieronymus Hass. The techniques developed for this study can be used in the investigation of other clavichord builders and their work.

This thesis examines Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things. Instead of using an iconographical analysis, the thesis investigates the relationship between Bosch's art and the Devotio Moderna, which has been speculated by many Bosch scholars. For this reason, a close study was done to examine the Devotio Moderna and its influence on Bosch's painting. Particular interest is paid to the seven day prayers of the Devotio Moderna, the subjects depicted in Bosch's painting, how Bosch's painting blesses its viewer during the time of one's prayer, and how the use of gaze ties all of these ideas together.

O presente trabalho em poéticas visuais buscou investigar possibilidades artísticas que evocam um lugar para além-mundo, anseios por plenitude e perfeição, tendo como objeto a escultura em cerâmica. Foi realizada uma produção imagética articulada a partir da prática e subjetividade artística, construindo uma visão de mundo. O imaginário como princípio e vetor encontrou configurações artísticas que apontam para um conjunto de crenças e valores humanos dentro do tema proposto. Este tema, substanciado na expressão Paraíso Paradoxal, inicialmente em estado latente, acabou por explicitar-se ao longo do desenvolvimento deste trabalho, estabelecendo-se ao final como quadro conceitual organizador do conjunto da obra. Durante este processo, os principais avanços metodológicos consistiram em gradualmente acrescentar aos trabalhos em cerâmica outros materiais como o metal, o vidro, penas de pássaro, líquidos, galhos de vime e fibras de algodão, tornando o trabalho mais fecundo e ampliando notavelmente as possibilidades. / The present work in visual poetry sought to investigate artistic possibilities that evoke a place beyond the world, longings for fullness and perfection, having as object the ceramic sculpture. An imagistic production articulated from the practice and artistic subjectivity was built, constructing a worldview. The imaginary as principle and vector found artistic configurations that point to a set of human beliefs and values within the proposed theme. This theme, substantiated in the expression Paradoxical Paradise, initially in a latent state, became explicit throughout the development of this work, establishing itself at the end as a conceptual framework that organizes the work as a whole. During this process, the main methodological advances consisted in gradually adding to the ceramic work other materials such as metal, glass, bird feathers, liquids, wicker twigs and cotton fibers, making the work more fruitful and greatly enhancing possibilities.

Der ‚Liber de arte distillandi de simplicibus’, genannt das ‚Kleine Destillierbuch’ des Straßburger Chirurgen Hieronymus Brunschwig (ca. 1450 bis 1512/13) wurde im Jahr 1500 erstmals veröffentlicht. In der vorliegenden Untersuchung sollen die darin genannten humoralpathologischen medizinischen Indikationen der destillierten Pflanzenwässer mit den nach derzeitigem wissenschaftlichem Erkenntnisstand belegten Indikationen verglichen werden und auf Übereinstimmungen und Abweichungen hin untersucht werden. Das ‚Kleine Destillierbuch’ befasst sich mit der Destillation von Arzneimitteln vorwiegend pflanzlicher Herkunft und den medizinischen Anwendungsbereichen dieser Destillate. Das erfolgreiche Werk, das in schriftlicher Form die damalige gängige Praxis der Medizinkundigen in Straßburg fixiert, entwickelte sich zum heilkundlichen Volksbuch des 16. Jahrhunderts, galt aber auch bei Berufs-Destillierern als wichtiges Technik-Lehrbuch für Destillationsverfahren. Daneben waren Brunschwigs Pflanzenbeobachtungen im ‚Kleinen Destillierbuch’ eine wertvolle Grundlage für die ältere deutsche Botanik. Für die Untersuchung wurden Druckausgaben aus den Jahren 1528 und 1610 verwendet. In einem ersten Schritt wurde durch Klärung heute ungebräuchlicher Begriffe der frühneuzeitliche Text erschlossen. Im zweiten Schritt wurden die Zutaten identifiziert, die Brunschwig zur Destillation der 269 pflanzlichen und 36 nicht-pflanzlichen, meist tierischen gebrannten Wässer verwendet. Im dritten Schritt wurden alle Indikationen der Destillate, die Brunschwig in seinen Planzenmonographien nennt, gesammelt und verschiedenen Körperregionen zugeordnet. Anschließend wurden den historischen Indikationsbezeichnungen heute gebräuchliche Bezeichnungen gegenübergestellt, um einen direkten Vergleich der Daten, die zwei grundsätzlich verschiedenen Wissenschaftsystemen entspringen, zu ermöglichen. Im vierten Schritt wurden alle von Brunschwig genannten Anwendungsbereiche der einzelnen „Wässer“-Monographien jeweils in Tabellenform aufgenommen. Diesen historischen Anwendungsbereichen wurden heutige naturwissenschaftlich belegte Indikationen gegenübergestellt. Hierfür wurde v.a. auf W. Blaschek, S. Ebel, E. Hackenthal u. a., Hagers Handbuch der Drogen und Arzneistoffe, HagerROM 2004, Programmversion 5.1, Berlin, Heidelberg 2005 zurückgegriffen. Ein Vergleich der historischen mit den aktuellen Anwendungen erfolgte anhand abgestufter Kategorien (I, II, III, IV). Für eine Interpretation der untersuchten Daten wurden diejenigen von Brunschwig verwendeten Pflanzen ausgewählt, die ein nach heutigem Wissensstand belegtes Anwendungsgebiet besitzen. Diese wurden zunächst nach den für ihre Wirkung relevanten Inhaltsstoffen geordnet. Die Übereinstimmungen bzw. Abweichungen der Brunschwigschen Anwendungsgebiete von den heute definierten Anwendungsgebieten der untersuchten Pflanzen wurden diskutiert. Die relativen Trefferhäufigkeiten wurden ermittelt. Sie liegen zwischen 33 % und 100 %, im Durchschnitt bei 65 %. Für eine weitere Diskussion wurden die gleichen Daten bezüglich der Destillat-Anwendung in den oben genannten Körperregionen geordnet. Die relativen Trefferhäufigkeiten liegen hier in einem Bereich zwischen 43 % und 86 %, im Durchschnitt bei 57 %. Die vorliegende Untersuchung ist Teil eines größeren Forschungsvorhabens. In gleicher Weise sollen mehrere Kräuterbücher des Mittelalters bzw. der frühen Neuzeit untersucht und anschließend mittels eines statistischen Verfahrens einzeln und im Vergleich umfassend ausgewertet werden. / The ´Liber de arte distillandi de simplicibus, the ´Small Book of Distillation as it is called was written by the surgeon Hieronymus Brunschwig (circa 1450 - 1512 / 13) from Strassburg and was first published in the year of 1500. In this investigation the plant distillates’ humoralpathological medicinal indications mentioned in this book are compared with currently verified indications and tested for accordances and divergences. The ´small book of distillation deals with the distillation of drugs mainly from plant origin and with the medicinal applications of these distillates. Brunschwig’s successful work records the healers’ common practice in Strassburg at the time. It turned into one of the most popular medicine books of the 16th century, but it was an important technology textbook for professional distillers as well. At the same time Brunschwigs’s contained botanical observations formed a valuable basis for the early German botany. Printed copies from 1528 and 1610 were used for this investigation. In a first step the early modern period text was deciphered by claryfying terms which are no longer in use. In a second step the ingredients used by Brunschwig for distilling 269 plant distillates and 36 animal distillates were identified to a large extent. In a third step all the distillates’ medicinal indications mentioned in the book’s plant monographies were collected and assigned to different parts of the human body. The historical indications were assigned to today’s terms of indications in order to facilitate a direct comparison of data which arise from fundamentally different systems of science. In a fourth step all indications listed in Brunschwig’s separate distillates’ monographies were documented in tabular form. These historical indications were compared to verified medicinal indications of today. For this W. Blaschek, S. Ebel, E. Hackenthal u. a., Hagers Handbuch der Drogen und Arzneistoffe, HagerROM 2004, Programmversion 5.1, Berlin, Heidelberg 2005 was mainly used. The comparison of the historical indications to the current ones was carried out with graded categories (I, II, III, IV). For interpreting the investigation’s data the plant monographies with a currently verified area of medicinal application were selected. They were ordered according to their relevant active plant constituents. The accordances and divergences of historical and current medicinal applications were discussed. The relative hit quotes were determined. They are between 33 % and 100 %, with an average value of 65 %. For a further discussion the same data were ordered as well according to the distillates’ use in the above-mentioned parts of the human body. Their relative hit quote is between 43 % and 86 %, with an average value of 57 %. This investigation is part of a bigger research project. In the same way several medieval medicinal herb books are to be investigated and evaluated separately and comparatively by statistical methods.

Diese Arbeit bietet erstmals eine Edition und Übersetzung handschriftlicher Aufzeichnungen aus dem chirurgischen Unterricht in Padua für angehende akademisch gebildete Ärzte im 16. Jahrhundert. Sie gibt damit detaillierte Einblicke in die chirurgische Lehre in Padua, der führenden medizinischen Fakultät des damaligen Europas. Johann Konrad Zinn, ein deutscher Medizinstudent, verfasste diese Mitschriften in der Chirurgie-Vorlesung, die Hieronymus Fabricius ab Aquapendente, einer der bekanntesten Anatomen jener Zeit, damals abhielt. / This thesis offers for the first time an edition and translation of handwritten notes from the surgical lessons in Padua for prospective academically educated doctors in the 16th century. It thus provides detailed insights into surgical teaching in Padua, the leading medical faculty in Europe at the time. Johann Konrad Zinn, a German medical student, wrote these transcripts in the surgery lecture that Hieronymus Fabricius ab Aquapendente held, one of the most famous anatomists of that time.

Orientador: Ernesto Giovanni Boccara / Dissertação (mestrado) - Universidade Estadual de Campnas, Instituto de Artes / Made available in DSpace on 2018-08-19T18:57:22Z (GMT). No. of bitstreams: 1 Covolan_ElaineNunesdeAguiar_M.pdf: 6657226 bytes, checksum: 27af4e22557f553fc05cd6f44c0bc960 (MD5) Previous issue date: 2011 / Resumo: O trabalho aqui apresentado consiste de uma produção artística na área de poéticas visuais, em que foram desenvolvidas expressões escultóricas originais que encontram relações com a obra do pintor Hieronymus Bosch. A semelhança mais significativa não se apresenta tanto no aspecto formal, mas é vislumbrada em outra instância, na sondagem do homem interior, na busca das realidades profundas e comuns a todo ser humano. Esta dissertação inicia-se com a investigação do universo simbólico e conceitual do tríptico "O Jardim das Delícias", de Bosch, visando estabelecer um quadro de referências conceituais a partir do qual se consiga entrever relações entre esta obra e o trabalho aqui apresentado. A partir destas referências, as reflexões evoluem na direção de discutir a noção da identidade no tempo, a ambiguidade das relações entre conhecer e ser, e a importância do impulso vital, a vontade humana. Trata-se de indagações e perplexidades subjacentes ao próprio trabalho artístico da autora, que são elaboradas em forma dialogal com as visões de vários pensadores citados ao longo deste trabalho / Abstract: The work presented here consists of an artistic production in the area of visual poetry by which unique sculptural expressions have been developed that are in relationship with the works of the painter Hieronymus Bosch. The most significant similarity is not presented in the formal aspect, but it is seen in another instance, in the inquiry of the inner man, in the search of the profound realities common to every human being. This dissertation begins with the investigation of the conceptual and symbolic universe of the triptych "The Garden of Earthly Delights", by Bosch, aiming at to establish a conceptual frame of reference from which one can glimpse the relations between this work and the work presented here. From these references, reflections evolve towards discussing the notion of identity in time, the ambiguity of the relationship between knowing and being, and the importance of vital impulse, the human will. These are questions and concerns underlying the author's own artwork, which are elaborated in a dialoguing form with the views of various thinkers cited in this work / Mestrado / Mestre em Artes

Univ., Diss. (für den Druck geringfügig überarb.)--Augsburg, 2006. / Literaturverz. S. [21] - 41.