Au début du XVIè siècle, le territoire germanique apparaît comme le foyer de réception non seulement le plus important mais aussi le plus fécond des estampes du peintre italien Andrea Mantegna (1431-1506). De Dürer à Peter Vischer à Nuremberg, de l’atelier d’Ulrich Apt à celui de Jörg Breu l’Ancien à Augsbourg, d’Hans Baldung Grien à Matthias Grünewald dans les régions rhénanes, d’Urs Graf à Jörg Schweiger en Suisse, de l’atelier d’Altdorfer implanté à Ratisbonne à celui de Wolf Huber situé à Passau : tous les centres artistiques et humanistes du monde germanophone sont concernés. Inscrite dans la problématique des transferts culturels, cette thèse vise à montrer, par une approche résolument pluridisciplinaire, que la réception des modèles gravés italiens en Allemagne ne se borne pas aux emprunts formels et stylistiques, mais s’intègre dans une réflexion sur l’émulation, qui tient compte des spécificités à la fois historiques et culturelles du Saint Empire Romain germanique / During the early 16th century the German territory was not only the most important but also the most fruitful center for the circulation of Italian painter Andrea Mantegna's (1431 - 1506) prints. From Dürer to Peter Vischer in Nuremberg, from Ulrich Apt's workshop to Jörg Breu the Elder in Augsbourg, from Hans Baldung Grien to Matthias Grünewald in Alsace, from Urs Graf to Jörg Schweiger in Switzerland, Altdorfer's workshop, located in Regensburg to Wolf Huber's in Passau. Basically all artistic and humanist centers in the German-speaking world were concerned. This thesis takes as its primary object the problematic of cultural transfers and aims at showing, through a multidisciplinary approach, that the German reception of Italian engravings is not only limited to formal and stylistics aspects but it is integrated in a reflection regarding the emulation, which will take into account both historical and cultural particularities of the German Sacred Roman Empire

Работа посвящена изучению творческого метода итальянского скульптора и художника Сандро Керки. Первая глава содержит обзор основных тенденции развития европейской и итальянской скульптуры в конце XIX – первой половине ХХ веков, а также факторов, повлиявших на становление современного искусства Италии. Вторая глава освещает основные этапы жизни и творчества Сандро Керки. Она включает в себя подробную биографию, анализ скульптурного наследия, а также анализ живописных и керамических работ, составляющих частную коллекцию. Сандро Керки был знаком со многими известными итальянскими скульпторами и художниками, принимал активное участие в художественной жизни страны. Его работы отражают творческие поиски и судьбу итальянских художников в ХХ веке. Они интересны своим новаторским, ярким индивидуальным стилем. Художника интересовала форма, скрытая в скульптурной материи или цвете, которую он выявлял при помощи линий и плоскостей. / Current study is devoted to the exploration of a creative method of the Italian sculptor and painter Sandro Kerki. The first chapter provides an overview of the main trends in development of European and Italian sculpture in the late the XIX - the first half of the XX centuries, as well as factors that influenced the emergence of modern art in Italy. The second chapter covers the main stages of life and work of Sandro Kirk. It includes a detailed biography, an analysis of the sculptural heritage, as well as analysis of paintings and ceramic works that make up the private collection. Sandro Kerky was familiar with many famous Italian sculptors and painters, took an active part in the artistic life of the country. His artworks reflect a creative search and a fate of Italian artists of the twentieth century. They are interesting for their innovative, vibrant personal style. Artist is interested in a form that is hidden in a sculptural material or color, which he brought out by means of lines and planes.

[pt] A tese Giorgio Morandi e o respeito pelas coisas de uso, retoma a produção artística de Giorgio Morandi 1890-1964, um dos mais importantes artistas italianos do século XX, para restabelecer dentro do período de formação do Modernismo suas relações com a produção cultural europeia coetânea. A tese busca mostrar como a obra de Morandi se apresenta como uma alternativa à interpretação artística hegemônica feita pelo Cubismo da obra de Cézanne, privilegiando aspectos dessa poética que foram relegados a segundo plano por Picasso e Braque, notadamente a percepção de um espaço em profundidade corporalmente determinado, porém conjuminando essa espacialização com a linguagem planar estabelecida pelos cubistas. Procuramos mostrar que as buscas de Morandi não tinham afinidades somente no campo das artes, mas como a produção de sua obra e as questões por ela elaboradas, particularmente como o entendimento plástico das coisas e utensílios que lhe servem como motivo para suas naturezas–mortas estão em sintonia com o conceito de coisa e coisidade tratado pxsor Heidegger em A origem da obra de arte e O que é uma coisa?, ambos os textos escritos em 1935. As indagações artísticas de Morandi, de modo mais amplo, têm profundas afinidades com o método fenomenológico de Husserl, Heidegger e Merleau-Ponty. / [en] The dissertation Morandi and the Respect for Things of Use reexamines the artistic production of Giorgio Morandi (1890-1964), one of the most important Italian artists of the 20th century, in order to reestablish, within the time frame of the development of Modernism, his connections with contemporaneous European cultural production. The dissertation shows the ways in which Morandi s work presents itself as an alternative to Cubism s hegemonic artistic interpretation of Cézanne s work, favoring aspects of Cèzanne s poetics that Picasso and Braque relegated to the background – notably the perception of corporally determined depth of space – while at the same time uniting this spatialization with the language of flatness established by the Cubists. The dissertation seeks to demonstrate that Morandi s investigations had affinities not only in the arts, but that the production of his body of work and the questions it raised – in particular the visual understanding of things and utensils that motivated his still-lifes – were in line with the concept of thing and thingness elaborated by Heidegger in The Origin of the Work of Art and What is a Thing? both written in 1935. Morandi s artistic inquiries, in a broad sense, have deep affinities with the phenomenological method of Husserl, Heidegger and Merleau-Ponty.