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.

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.

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.

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.

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

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.

The discourse of pictorial surrealistic expressions in art historic course literature – a historiographic study about generalization of style. Through a historiographic perspective and discourse analysis the aim of this study is to uncover the ways art historic course literature make its stylistic categorization. This is done by making a semiotic categorization where three artworks are stipulated into a category called surrealistic pictorial expressions. The result of the semiotic picture analysis show both the semiotic grouping of pictures together and the work of the course literature as somewhat arbitrary, which lead to the questioning of why artworks are considered discursive objects while the course literature is not as well as how the narrative of pictures differs from the narrative of textbooks. The study shows a fundamental difference regarding the structuring of time which lead to a discussion on what might be the consequences for students of the field. / Undersökningen består huvudsakligen i två delar. Den första stärker genom bildanalys en samhörighet mellan tre konstverk, en samhörighet som trots allt visar sig vara problematisk. Den andra delen behandlar tre böcker som i stor utsträckning utgör fundamentet för den litteratur som studeras inom konstvetenskap på grundnivå. Med hjälp av slutsatsen från bildanalysen, att ett samband mellan bilder är relativt godtyckligt, kan texterna analyseras och betydande skillnader visar sig i hur konstverken kontra kurslitteraturen kommunicerar. Framförallt skiljer de sig åt i hur de strukturerar berättande tidsligt och likt bilderna som böckerna behandlar är de själva föremål för de strömningar som rör sig i samhället. Slutsatsen blir att studerande av konstvetenskap redan från början leds in i föreställningen om att konsthistorien är något som faktiskt existerar på ett objektivt plan medan det egentligen är något som aktivt skapas av de praktiserande inom fältet

Uppsatsen undersöker konstbetraktandets natur i tunnelbanan genom en närstudie av fotomontaget ”Den dagen, den sorgen på Karlaplans tunnelbanestation i Stockholm.  Uppsatsens huvudsakliga frågeställning är: Hur spelar ”Den dagen den sorgen” upp sin mening och hur tas denna emot av betraktaren i tunnelbanekontexten vid Karlaplan?   Två underfrågor kompletterar frågeställningen: 1.Vilken är fotomontagets konstnärliga särart och hur är det organiserat narrativt? 2.Hur är tunnelbanans ”genius loci” och hur samverkar konstverket med platsen och rummet?    Impetus för uppsatsen är konstverkets säregna och unika karaktär som konstverk. Det finns inget liknande verk i Stockholms tunnelbana. Det lockar, väcker frågor och involverar betraktaren på ett direkt sätt. Syftet med uppsatsen är därför att undersöka mekanismerna för denna betraktaraktiverande rörelse. En fråga som ofta saknas i den omfattande litteraturen om konsten i Stockholms tunnelbana är hur tunnelbanekonsten kommunicerar och tas emot av sina betraktarresenärer. Denna brist motiverar en undersökning av relationen mellan konstverk, betraktare och miljö.      Uppsatsen är utförd med hjälp av en deduktiv och systematiskt tolkande arbetsmetod utifrån en receptionsteoretisk och semiotisk teoribildning. De valda frågeställningarna har riktat analysen och fotomontaget har studerats som konstnärligt och språkligt fenomen. Receptionsteorin utgår från Wolfgang Kemps begreppsanalys, vilken är strukturerad i interna och externa faktorer. Peter Gillgren kompletterar Kemp och visar hur betydelsefulla verkets interartiella referenser och den litterära meningen är för den receptionsteoretiska tolkningen. Roland Barthes semiotiska teckenanalys, där denoterande tecken omvandlas till konoterande i betraktarens medvetande, ligger också till grund för tolkningen      Texten är uppbyggd av fem delar. De består av inledning, bakgrund, interna faktorer, externa faktorer samt avslutande diskussion med slutsatser och sammanfattning. Genom verkets många interartiella referenser framträder en samhällskritisk litterär mening. För att förmedla denna litterära mening har upphovsmannen medvetet sökt motverka en riskerad polysemi. Kompletterande performativa textremsor, det hyperrealistiska fotografiska bildmediet samt en återhållsamhet med fragment stramar åt och riktar bildens ”betydelse”. Bildens komposition och perspektiv samt en frekvent användning av vakanser och fokaliserande gestalter bjuder in betraktaren i bildens ”spel” och sätter dennes öga i rörelse.  Verk, betraktare och miljö möts och förstår varandra i hastiga filmiska ögonblick. Sådan är konstbetraktandets natur på Karlaplans tunnelbanestation.

This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation.