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Thesis (Ph. D.)--University of Virginia, 1980. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 380-406).

博士(芸術学) / Doctor of Philosophy in Art Theory / 同志社大学 / Doshisha University

Revision of the author's Thesis (doctoral)--Humboldt-Universität, Berlin, 2001. / Includes bibliographical references (p. [231]-248) and index.

Thesis (M.A.)--Kent State University, 2007. / Title from PDF t.p. (viewed November 14, 2007). Advisor: Gustav Medicus. Keywords: Carpaccio; Vittore Carpaccio; Hunting on the Lagoon; Two Venetian Ladies; Social Studies, Venice; Renaissance, Venice; Material Culture, Venice; Gender Studies, Venice; Furniture, Venice; Domestic, Venice; Women's Fashion, Venice; Letter Rack; Venetian Soceity. Includes bibliographical references (p. 71-75).

Thesis (Ph.D.)--University of Delaware, 2006. / Principal faculty advisor: Ann Eden Gibson, Dept. of Art History. Includes bibliographical references.

Orientador: Luiz Cesar Marques Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T07:36:06Z (GMT). No. of bitstreams: 1 Ragazzi_Alexandre_D.pdf: 130803920 bytes, checksum: c31f1fe5f72d513ab06d0886a0f294cb (MD5) Previous issue date: 2010 / Resumo: Procedimento surgido na Itália central durante o Quatrocentos, o uso de modelos plásticos auxiliares estava entre as diversas etapas que compunham o longo processo de realização de uma pintura. Essa prática artística consistia na elaboração de estatuetas de argila ou cera que deveriam atuar como modelos para o pintor. Podiam ser vestidos ou não, utilizados como figuras isoladas ou em uma composição. Devido aos frágeis materiais com os quais eram feitos e ao desinteresse dos contemporâneos em preservá-los pouquíssimos resistiram à ação do tempo, e os meios agora disponíveis para atestar sua existência são sobretudo a análise de pinturas e desenhos, de inventários e da literatura artística. Com efeito, embora dispersos, há um grande número de testemunhos a respeito dessa prática nos escritos sobre arte, e através desses registros é possível compreender as funções e o valor atribuídos a esses modelos no processo criativo dos pintores. O momento de maior difusão dessa prática parece ter se dado durante o século XVI. Os testemunhos existentes apontam para um uso disseminado de tais modelos entre os artistas italianos, tanto em ambiente romano-toscano quanto setentrional. Entretanto, a partir do final daquele século também é possível perceber que seu emprego começou a ser questionado, ora sendo incentivado, ora reprovado. A análise desse período, portanto, oferece a possibilidade de demarcar essa prática artística e, ao mesmo tempo, aquilatar sua extensão e seu alcance. / Abstract: Procedure emerged in central Italy during the Quattrocento, the use of auxiliary plastic models was among the various stages that made up the long process of creating a painting. This practice consisted in developing artistic figurines of clay or wax, which should act as models for the painter. They could be dressed up or not, used as isolated figures or in a composition. Due to the fragile materials with which they were made and the lack of interest of the contemporaries in preserving them, just a few could resist the action of time, and the resources now available to attest to their existence are primarily the analysis of paintings and drawings, of inventories and of the artistic literature. Actually, although sparse, there are a lot of testimonies about this practice in the writings on art, and through these records it is possible to understand the functions and the value attributed to these models in the creative process of painters. The moment of greatest diffusion of this practice seems to have taken place during the sixteenth century. The existing evidences point to a widespread use of such models among Italian artists, both in central and northern Italy. However, from the end of the century it is also possible to notice that this practice came into question, sometimes being encouraged and sometimes disapproved. The analysis of this period, therefore, offers the possibility of demarcating this artistic practice and, at the same time, assessing its extent and scope. / Doutorado / Doutor em História

Italian artists working in eighteenth-century Britain played a significant role in the country's developing interest in the fine arts. The contributions of artists arriving before mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence of a larger number of Italians from mid-century is seldom acknowledged. Increasing British wealth and attention to the arts meant more customers for immigrant Italian artists. Bringing with them the skills for which they were renowned throughout Europe, their talents were valued in Britain. Many stayed for prolonged periods, raising families and becoming active members in the artistic community. In a thriving economy, they found opportunities to produce innovative works for a new clientele, devising histories, landscapes, portraits, and prints to entice buyers. The most successful were accomplished networkers, maintaining cordial relationships with British artists and cultivating a variety of patrons. They influenced others through teaching, through formal and informal exchanges with colleagues, and through exhibition of their works that could be studied and emulated.

[pt] A dissertação discute a Arte Povera, tendência artística italiana do final da década de 1960 e início dos anos 1970. A partir da análise dos trabalhos de seus artistas mais significativos e dos textos críticos produzidos na época, o trabalho pretende discutir o conceito de Arte Povera, mostrando suas especificidades e os pontos de contato entre as diferentes propostas dos artistas: Michelangelo Pistoletto, Giovanni Anselmo, Gilberto Zorio, Giuseppe Penone, Jannis Kounellis, Luciano Fabro, Alighiero Boetti, Giulio Paolini, Marisa Merz e Mario Merz.Através desse recorte, aborda algumas questões da arte contemporânea, como o estatuto do objeto de arte, a inserção da dimensão temporal no espaço da obra, a problematização do lugar e dos materiais tradicionais da arte, a crítica à estrutura na qual se insere. / [en] This dissertation discusses Arte Povera, an italian artistic tendency that took place at the end of the 1960's and the beginning of 1970's. Through the analysis of the works from its most significant artists and the critical texts produced at that time, the work intends to discuss the concept of Arte Povera, showing its specific aspects and the similarities that the diferent artist's proposals have in common. The artists are Michelangelo Pistoletto, Giovanni Anselmo, Gilberto Zorio, Giuseppe Penone, Jannis Kounellis, Luciano Fabro, Alighiero Boetti, Giulio Paolini, Marisa Merz e Mario Merz. Using this point of view, the work includes some questioning about contemporary art, like the discussion about the art object status, the insertion of the temporal dimension in the work space, the questioning of place and traditional art materials, the criticism of the institutional structure in which art belongs.

Thesis (Ph.D.)--The University of Texas at Austin, 1996. / Includes bibliographical references (leaves 680-718).