<p>Målet är att få en bättre kunskap om Jean Prouvé och hans arbete, att förevisa om hans vikt i arkitektur- och designhistorien samt att upplysa om de idéer och ideal som var bakomliggande. En diskussion med några konkreta exempel förs runt det samarbete han närde med Le Corbusier och Charlotte Perriand. Detta tycks ha varit avgörande i mognaden och utvecklingen av hans stil och produktion.</p><p> </p> / <p>The aim of this essay is to acquire a better understanding of Jean Prouvé’s work and of the importance his production had in the fields of architecture and design. It also aims to represent the ideas and principles that were underlying. A discussion is held about the professional collaboration Prouvé nourished with Le Corbusier and Charlotte Perriand by stating specific examples since it seems as relevant in the evolution of Prouvé’s production and style.</p><p> </p>

<p>Med utgångspunkt i en porträttskiss signerad  Schröder tecknas i uppsatsen en bild av konstnären Georg Engelhard Schröder och särskilt av hans tid som hovmålare 1725-1750.  I uppsatsen diskuteras Schröders porträtt av drottning Ulrika Eleonora och den tecknade ansiktsstudiens roll i det samtida porträttmåleriet.</p>

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This essay puts forth an analysis of the recent portrayal of an unwed mother in the Bollywood film, Kya Kehna! (Kundan Shah, 2000, henceforth KK). The title, which is readily translated to the rhetorical, "What can you say?" has additional significance here as a laudatory exclamation directed at the film's young heroine. Targeting a younger audience, the film was hailed as a challenging exploration of female sexuality and women's empowerment. The film in fact reaffirms traditional stereotypes of women in which their behavior is carefully controlled within a patriarchal framework. In spite of the awkward fact that the main character's state of motherhood is the result of pre-marital sex, nationalist mechanisms are put into play to glorify the ideal of Woman-as-Mother. Unwed motherhood is not unheard of as a half-hidden side-plot of Hindi film, but it is very unusual to find it as the main narrative focus. A close textual reading of KK will enable a detailed comparison with an earlier film that apparently served as a template for the later production. Julie (K. S. Sethumadhavan, 1975), is a film that handled the same subject with a sensitivity unmatched in the more recent film. Further, placing KK alongside other contemporaneous releases, will show how-even in a film that does not foreground political, patriotic, or religious storylines-nationalist subtexts can be discerned in its handling of pre-marital sex, religion, and in the staging of its conclusion. The influences of economic liberalization, rising Hindutva sentiment in India (and commensurate communal tensions) as well as the impact of the NRI (Non-Resident Indian) community are all factors that play a part in the shaping of current Bollywood ideology, and their effects are visible in this film. Finally, viewer response and the concept of women's "uplift" will be addressed.

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<p>This thesis examines the production of commercial art in contemporary Mozambique. It explores the power relationship between local artists &ndash / painters and sculptors &ndash / and their patrons and brokers in the art market. This means, on one hand, that it looks at the artworks that have been produced during the late colonial period (1962 &ndash / 1974) and the post-colonial periods (June 1975 - 2010) and relates this to the changing political landscape in Mozambique. On the other hand, the aim is to explore the artists&rsquo / life histories,&nbsp / especially how their talent was first recognized, their art training (formal or otherwise), previous work experience, and the reasons for their current success (or lack thereof). This is done in order to see how and to what extent their artistic works have been influenced by external forces or actors. The power relationship existing between the art producers and their customers in the art markets in Mozambique is then related to the issue of globalisation. In this process, the study critically analyses who the actual art patrons of Mozambique art are and the extent to which Mozambican art is influenced by global forces. The focus is on a number of artists and the thesis examines their life histories specific to their art production in order to highlight the themes and trends of their art works. It was found that local art produced in Mozambique is not simply responding to local influences but also to global forces, of which the latter dominates. However, the study further reveals that while the art producers are influenced externally by their buyers, they (the art&nbsp / producers) have their own ways of manipulating their buyers in order to be able to sell their products. In other words, the artists have the power of mediating between local,&nbsp / personal influence and that of the patrons.</p>

While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.

La tesi doctoral analitza la trajectòria professional de Pere Nicolau (1390-1408), pintor de retaules actiu a València a la fi del segle XIV i primera dècada del segle XV. Aquest pintor és fonamental per explicar la gènesi i introducció de l’estil internacional a València. L’objectiu de la recerca era fer una revisió crítica del pintor i de la seua relació amb altres pintors relacionats amb el seu obrador: Antoni Peris, Jaume Mateu, Gonçal Peris o Gonçal Peris Sarrià. La investigació ha estat estructurada en tres parts. La primera se dedica a l’estudi i sistematització de la historiografia anterior sobre el tema. Era un pas imprescindible donada la complexitat de l’esquema atributiu i la dispersió de la documentació. La segona part gira en torn de Pere Nicolau. El perfil vital i professional d’aquest pintor ha estat elaborat des de la revisió documental i amb l’aportació de nova documentació, tant de caràcter personal com professional. L’anàlisi remarca els aspectes socials de la producció artística: l’ obrador, els clients, la relació amb altres pintors i els àmbits d’actuació. Es pretenia confirmar la importància del pintor dins del context valencià i contribuir a esclarir l’esquema evolutiu del gòtic internacional a València. L’estudi proporciona una visió del pintor i de la seua producció des de l’anàlisi detallat de les obres documentades. La tercera part de la tesi analitza la relació de Pere Nicolau amb els seus continuadors. Es tracta d’una segona generació de pintors, difusors dels models de Nicolau fora de l’àmbit valencià, la seua activitat va contribuir al desenvolupament de la pintura sobre taula i dels models internacionals en altres territoris de la Corona d’Aragó. Aquesta part de la tesi s’inicia amb l’estudi de les característiques de l’ofici de pintor a la Baixa edat Mitjana per continuar amb una anàlisi més detallada dels pintors de retaules. L’estudi s’ha centrat en Antoni Peris, Jaume Mateu i Gonçal Peris o Gonçal Peris Sarrià. De la seua biografia s’ha fet una revisió documental i historiogràfica. Així mateix, de tots ells s’aporta documentació inèdita que permet completar el seu perfil professional. Dels resultats de la recerca cal destacar que ha estat documentada l’execució i contractació de nous retaules, l’aproximació d’alguna obra documentada a algunes obres conservades, en especial, ha estat possible aproximar Jaume Mateu, nebot de Pere Nicolau, format a l’obrador de Pere Nicolau a l’autor anònim d’un retaule dedicat a la mare de Déu, procedent de Burgo d’Osma(Soria), obra que en l’actualitat es conserva dispersa entre el Museu del Louvre (París) i el Museu Frederic Marés (Barcelona). Tanmateix l’aportació més destacada, pel valor del retaule i per la seua transcendència per a l’estudi de l’evolució de l’internacional a València és una àpoca del pagament a Gonçal Peris Sarrià pel retaule major de l’església parroquial de Rubielos de Mora(1418, Terol) Igualment ha quedat confirmat que cap el 1436 l’obrador d’aquest artista estava pintant un retaule dedicat a sant Miquel i altre a la Mare de Déu per a Puertomingalvo (Terol). La notícia resulta significativa puix és a ell a que s’atribueix l’autoria del retaule de santa Bàrbara (Museu Nacional d’Art de Catalunya) procedent d’aquesta població junt a un altre retaule dedicat als set Gojos de la mare de Déu que va pertànyer a la col·lecció Muñoz(desaparegut). La tesi, en conjunt, confirma el paper de Pere Nicolau en l’assimilació i difusió de l’internacional valencià i modifica l’esquema de la segona generació de pintors enquan destaca el paper d’Antoni Peris i Jaume Mateu com a pintors de retaules. / Pere Nicolau was a Valencian painter specialized in altarpieces, working in the late XIV century and the first decade of the XV century. This painter is the key to understand how the International Style started and developed in Valencia. The research intends to revise the artist's work and his relationship with other painters linked to his workshop. The research is divided into three sections. The first one is devoted to the study and classification of the existing previous documentation, a necessary step owing to its complexity and variety. The second section deals with Pere Nicolau's life and work. Previous documents are examined but also new, previously unpublished ones, both about his family and professional life. The research revises the evolution of International Gothic Style in Valencia and confirms Nicolau's importance in Valencian circles by revising data concerning his artistic production: his workshop, his clients, his relationship with other painters. Also, Nicolau's works are analyzed in detail. The third section analyzes Nicolau's relationship with those artists influenced by his work. This second generation of painters spread Nicolau's models outside Valencian territory, into other regions belonging to the Crown of Aragón. First, the traits of the painting craft during the Low Middle Ages are described and then the painters specialized in altarpieces are studied, especially Antoni Peris, Jaume Mateu and Gonçal Peris Sarriá. Previously unpublished documents provide important new evidence about their work. The research has successfully provided documentation about new altarpieces. An altarpiece dedicated to the Virgin Mary which was originally located in Burgo de Osma (Soria) and is currently kept in the Louvre and in Museo Frederic Marés (Barcelona) may be attributed to Jaume Mateu, Pere Nicolau's nephew and disciple. Another significant finding owing to its trascendence to the study of the evolution of International Style in Valencia is an invoice on the payment made to Gonçal Peris Sarriá in 1418 for the altarpiece of the parish church in Rubielos de Mora. In conclusion, the thesis provides evidence which confirms Pere Nicolau's role in the assimilation and diffusion of the International Style in Valencia and documentation which changes the views on the second generation of painters by stressing the significance of Antoni Peris and Jaume Mateu concerning the making of altarpieces.