1 / Natalie McCann

This thesis draws together material and archival sources to investigate the long-overlooked portraits of English provincial gentry families commissioned between c.1550 and c.1680. Specifically, its focus is on portraits of family groups where more than one generation, connected through blood or kinship, is depicted in the same composition. The thesis identifies these as a coherent genre for the first time and examines the ways in which the gentry used such paintings to establish familial legacy and heritage for future generations. This thesis explains how these portraits respond to, and reflect, family memory and narratives, social networks, local histories, religious observance and artistic developments. They are important because the family, as the basic unit of society, was essential for the formation and transmission of belief and identity, and the place where children were socialised. The portraits simultaneously reflect broad social trends while also containing personal messages about the lives and relationships of individual families which were specific to their own particular place and time. The thesis argues for the significance of visual artworks and especially this genre of painting, in the construction of gentry status and self-fashioning over this key period of social change.

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Essa tese tem dois objetivos principais: investigar a vida do pintor carioca Arthur Timotheo da Costa (1882-1922) e concomitantemente desvendar alguns pontos de sua obra, mais especificamente as representações que produziu a respeito da capital nacional, sua arquitetura e sujeitos. Negro, proveniente das classes mais baixas da sociedade carioca, esse pintor, a despeito de sua precoce morte, conseguiu ascender socialmente ao mesmo tempo em que produziu material crítico sobre uma sociedade que queria se livrar de seu passado escravista, ansiosa pela modernidade, mesmo que às custas da marginalização e perseguição da população negra. No meu entender Arthur Timotheo é um observador privilegiado para entender esse momento, posto que sobre ele pesam as questões mais dramáticas de seu tempo. / This dissertation has two main objectives: to investigate the life of the Carioca painter Arthur Timotheo da Costa (1882-1922) and simultaneously uncover some points of his work, more specifically the representations produced about Rio, its architecture and subjects. Black, from the lower classes of Rio society, this painter, despite his early death, could rise socially while that produced critical material about a society that wanted forget their slave past, excited about modernity, even if at the expense of the marginalization and persecution of the black population. Arthur Timotheo is a privileged observer to understand this points, since it weighs about the most dramatic issues of his time.

Essa tese tem dois objetivos principais: investigar a vida do pintor carioca Arthur Timotheo da Costa (1882-1922) e concomitantemente desvendar alguns pontos de sua obra, mais especificamente as representações que produziu a respeito da capital nacional, sua arquitetura e sujeitos. Negro, proveniente das classes mais baixas da sociedade carioca, esse pintor, a despeito de sua precoce morte, conseguiu ascender socialmente ao mesmo tempo em que produziu material crítico sobre uma sociedade que queria se livrar de seu passado escravista, ansiosa pela modernidade, mesmo que às custas da marginalização e perseguição da população negra. No meu entender Arthur Timotheo é um observador privilegiado para entender esse momento, posto que sobre ele pesam as questões mais dramáticas de seu tempo. / This dissertation has two main objectives: to investigate the life of the Carioca painter Arthur Timotheo da Costa (1882-1922) and simultaneously uncover some points of his work, more specifically the representations produced about Rio, its architecture and subjects. Black, from the lower classes of Rio society, this painter, despite his early death, could rise socially while that produced critical material about a society that wanted forget their slave past, excited about modernity, even if at the expense of the marginalization and persecution of the black population. Arthur Timotheo is a privileged observer to understand this points, since it weighs about the most dramatic issues of his time.

Fernand Léger a vilipendé la peinture "littéraire" et "narrative", mais n'a jamais cessé de côtoyer la poésie. En cela, il s'inscrit dans une tradition qui, depuis Manet, a affirmé l'autonomie de l'art par rapport à une culture reçue pour développer une attention extrême aux manifestations de la vie qui lui est contemporaine. C'est sur cette base, dans la séparation nette de l'art avec la culture bourgeoise, que s'est épanoui le rapprochement des peintres et des poètes depuis cette époque. Mais la "vie moderne" dont parle Léger est différente de celle à laquelle sont confrontés les artistes du XIXe siècle. Guerre, chaîne de montage et métropoles industrielles sont la toile de fond de sa collaboration avec Blaise Cendrars, de son interprétation des Illuminations de Rimbaud, ou encore de la création de son propre livre illustré, Cirque, que la thèse propose d'analyser. / Fernand Léger has long reviled "literary" and "narrative" painting, but never has ceased to cross words with poetry. In that regard he falls within a tradition in which, since Manet, the autonomy of art has been clearly asserted in relation to the imposed hierarchy and values of bourgeois culture, so that it can wholly focus on the manifestations of life of its time. It is on that basis, in the clear split separating art and bourgeois culture, that the bond between poets and painters has flourished since then. But what Fernand léger refers to as "modern life" has nothing to do with what the 19th century artists were exposed to. War, assembly lines and industrial metropolis compose the background of his collaboration with Blaise Cendrars, his rendering of Rimbaud's Illuminations or the making of his own illustrated book, Cirque, that this thesis proposes to study.

[ES] La presente investigación consiste en un acercamiento analítico a los campos del cómic y la pintura: sus elementos constitutivos esenciales, su historia, sus puntos de comunión tanto como sus diferencias e incompatibilidades, se constituyen en nuestro objeto de estudio. Nuestra hipótesis se basa en la premisa de que estos lenguajes son formas artísticas y lenguajes diferentes, con similitudes y diferencias que pueden ser profundas. Postulamos que la colaboración y convivencia de ambos lenguajes dentro de una obra plástica reviste un grado de complejidad y requiere considerar un abanico de aspectos que pudiesen resultar problemáticos, para lograr una obra que finalmente se alimente y enriquezca de ambos lenguajes, en una relación armónica. Nuestro objetivo es reconocer estos aspectos que pudiesen facilitar o dificultar la interacción entre ambos lenguajes, en búsqueda de posibles vías de comunicación y colaboración. Para ello realizaremos un análisis formal e histórico de ambas disciplinas, tanto de cada una por separado, como en aquellos aspectos en los cuales se relacionan. Identificaremos cada lenguaje con un territorio diferenciado, y estableceremos un conjunto de clasificaciones que nos permitirán reconocer diversos aspectos propios de cada uno de estos campos. Nos acercaremos a nuestro objeto de estudio a través del estudio de textos académicos, entrevistas a actores relevantes, registros de prensa y documentales; nuestra investigación comprende también el diseño y elaboración de una serie de obras artísticas, insertas dentro del proceso de investigación, cuyo objetivo es servir como campo de exploración e indagación, que nos permite a su vez generar cuestionamientos y enfrentarnos a problemas específicos relacionados con la puesta en practica de las ideas. Concluiremos habiendo recorrido los territorios de la pintura y el cómic, cartografiado y estudiado los distintos aspectos en los que ambos lenguajes comulgan y los aspectos que los separan, categorizando asimismo las diversas formas en las que la pintura y el cómic han interactuado entre sí, en una clasificación que permite arrojar luz sobre algunos de los aspectos confusos en relación con este territorio expandido. / [CA] La present investigació consisteix en un acostament analític als camps del còmic i la pintura: els seus elements constitutius essencials, la seua història, els seus punts de comunió tant com les seues diferències i incompatibilitats, es constitueixen en el nostre objecte d'estudi. La nostra hipòtesi es basa en la premissa que aquests llenguatges són formes artístiques i llenguatges diferents, amb similituds i diferències que poden ser profundes. Postulem que la col·laboració i convivència de tots dos llenguatges dins d'una obra plàstica revist un grau de complexitat i requereix considerar un ventall d'aspectes que pogueren resultar problemàtics, per a aconseguir una obra que finalment s'alimente i enriquisca de tots dos llenguatges, en una relació harmònica. El nostre objectiu és reconéixer aquests aspectes que pogueren facilitar o dificultar la interacció entre tots dos llenguatges, en cerca de possibles vies de comunicació i col·laboració. Per a això realitzarem una anàlisi formal i històrica de totes dues disciplines, tant de cadascuna per separat, com en aquells aspectes en els quals es relacionen. Identificarem cada llenguatge amb un territori diferenciat, i establirem un conjunt de classificacions que ens permetran reconéixer diversos aspectes propis de cadascun d'aquests camps. Ens acostarem al nostre objecte d'estudi a través de l'estudi de textos acadèmics, entrevistes a actors rellevants, registres de premsa i documentals; la nostra investigació comprén també el disseny i elaboració d'una sèrie d'obres artístiques, inserides dins del procés d'investigació, l'objectiu de la qual és servir com a camp d'exploració i indagació, que ens permet al seu torn generar qüestionaments i enfrontar-nos a problemes específics relacionats amb la posada en practica de les idees. Conclourem havent recorregut els territoris de la pintura i el còmic, cartografiat i estudiat els diferents aspectes en els quals tots dos llenguatges combreguen i els aspectes que els separen, categoritzant així mateix les diverses formes en les quals la pintura i el còmic han interactuat entre si, en una classificació que permet llançar llum sobre alguns dels aspectes confusos en relació amb aquest territori expandit. / [EN] The present research consists of an analytical approach to the fields of comics and painting: their essential constitutive elements, their history, their points of communion as well as their differences and incompatibilities, constitute our object of study. Our hypothesis is based on the premise that these languages are different artistic forms and languages, with similarities and differences that can be profound. We postulate that the collaboration and coexistence of both languages within a plastic work has a degree of complexity and requires considering a range of aspects that could be problematic, in order to achieve a work that finally feeds and enriches both languages, in a harmonious relationship. Our objective is to recognize these aspects that could facilitate or hinder the interaction between both languages, in search of possible ways of communication and collaboration. To this end, we will carry out a formal and historical analysis of both disciplines, both of each one separately, as well as in those aspects in which they are related. We will identify each language with a differentiated territory, and we will establish a set of classifications that will allow us to recognize different aspects of each of these fields. We will approach our object of study through the study of academic texts, interviews with relevant actors, press records and documentaries; our research also includes the design and elaboration of a series of artistic works, inserted within the research process, whose objective is to serve as a field of exploration and inquiry, which in turn allows us to generate questions and confront specific problems related to the implementation of ideas. We will conclude having traversed the territories of painting and comics, mapping and studying the different aspects in which both languages converge and the aspects that separate them, also categorizing the various ways in which painting and comics have interacted with each other, in a classification that allows us to shed light on some of the confusing aspects in relation to this expanded territory. / Ocaña Salinas, LA. (2023). Hacia un territorio expandido. Convergencia y relaciones fronterizas entre la Pintura contemporánea y el Cómic actual [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202599