Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2006 / Submitted by Natália Cristina Ramos dos Santos (nataliaguilera3@hotmail.com) on 2009-11-02T15:02:23Z No. of bitstreams: 1 dissertacao completa Denise T Bonato.pdf: 3367517 bytes, checksum: 8801f479cd40fb2568f52b60721d4406 (MD5) / Approved for entry into archive by Gomes Neide(nagomes2005@gmail.com) on 2010-10-14T15:14:29Z (GMT) No. of bitstreams: 1 dissertacao completa Denise T Bonato.pdf: 3367517 bytes, checksum: 8801f479cd40fb2568f52b60721d4406 (MD5) / Made available in DSpace on 2010-10-14T15:14:29Z (GMT). No. of bitstreams: 1 dissertacao completa Denise T Bonato.pdf: 3367517 bytes, checksum: 8801f479cd40fb2568f52b60721d4406 (MD5) Previous issue date: 2006 / A presente dissertação aborda a obra de Wassily Kandinsky (1866-1944), partindo da identificação da presença do cavaleiro em seus trabalhos, na busca por compreender a motivação e a constância da exploração do tema, por meio da conexão entre as reflexões teóricas e a produção plástica do artista. Propõe-se apontar, nas reflexões do artista, elementos que aportem a hipótese de que a recorrência ao tema do cavaleiro é resultante de rememorações do grupo ao qual pertencia, fundamentada no conceito de memória coletiva de Maurice Halbwachs. Visa-se, ainda, a estabelecer um diálogo entre a obra de Kandinsky e a de artistas contemporâneos a ele, que em determinado momento comungaram de ideais comuns, expressados pelo instrumento que os congregava – a arte. ____________________________________________________________________________ ABSTRACT / This thesis approaches the work of Wassily Kandinsky (1866-1944), starting from the identification of the rider in his works, seeking to understand the motivation and constancy of the exploitation of the theme, by means of the connection between the theoretical reflections and plastic production of the artist. It aims to point out, in the reflections of the artist, elements that support the hypothesis that the recurrence to the rider theme is a result of recollections to the group he belonged to, substantiated in the concept of collective memory, from Maurice Halbwachs. It also aims to establish a connection between the work of Kandinsky and artists contemporary to him that at a given time shared common ideals, expressed by the instrument that congregated them – the art.

Wassily Kandinsky wrote Über das Geistige in der Kunst, in 1912, and was translated from German into English by Michael Sadler. Naming it at first, “The Art of Spiritual Harmony” in 1914 it is known as, Concerning the Spiritual in Art. He wrote color and music theories based on angles, synesthetic experiences, subjective instincts, chromotherapy, and shapes. Kandinsky’s theories are worth continuing to research and bring forth into the new generation of technology where we can see music as numerical expressions. The goal of this iPhone Application is to teach users the relationship between color and music based on Kandinsky’s theories. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

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Le but de cette thèse est de créer et d'utiliser un outil d'analyse des aspects de spiritualité chrétienne dans quatre tableaux de Rembrandt intitulés Les Pèlerins d 'Emmaüs. La modélisation de la grille d'analyse s 'établit sur des principes d'analyse iconographique d'Erwin Panofsky; d'analyse sémiologique de Wassily Kandinsky et Fernande Saint-Martin; et d'esthétique théologique de Hans Urs von Balthasar. Les résultats d'interprétation révèlent la pertinence et l'efficacité de la nouvelle grille d'analyse faisant entre autres ressortir la convergence graphique non pas sur la fraction du pain comme il est dit traditionnellement, mais sur l'attitude de contemplation du Christ.