In this study, I argue that the cult of the artist centered on memorial making. From the Quattrocento through the Seicento, the growth in the size and number of memorials for artists parallels the changes that took place regarding the social class, professional position, and economic privilege of practitioners of the three main visual arts, painting, sculpture, and architecture. Similar to portraits, self-portraits, personal emblems, and signatures, tomb effigies and epigraphs were a type of construction of identity that articulated similar notions, serving as a form of popular praise and as a way to preserve one's memory for posterity. Moreover, tombs for artists existed in the public sphere on a grand scale, reaching larger audiences and thus having a greater cultural impact. Additionally, in tandem with contemporary art theory, tomb making became a tangible outlet for the paragon of the arts and for comparison against each other. The funeral ceremony functioned not only as a communal display of local pride but it also served as a vehicle for constructing artist-patron relationships and a way to promote the profession. The faculty to fashion artistic ties through the public spectacle of the funeral and the permanent medium of the memorial proved to be particularly essential for the newly formed art academies in regard to group identity and professional bonding. Publicizing the unification of the three arts was a key concern for the academies, especially in regard to decorating communal burial sites and devising group insignia. The display of emblematic imagery in addition to the erection of inscriptions that link the artist to his master on the tomb memorial became a palpable way to formulate an artistic pedigree for that particular artist and for that associated community of artists. The early art companies in central Italy--I Virtuosi al Pantheon in the 1540s in Rome, the Accademia del Disegno in the 1560s in Florence, and the Accademia di San Luca in the 1590s in Rome--were founded with the intention to properly bury their members. Moreover, for members, establishing ties to Raphael and Michelangelo, who received unprecedented burials, were hailed as symbolic figureheads for the academies, and were venerated as "artistic saints," lies at the center of sixteenth-century memorial making for artists. For some in the profession, as was the case for the followers of Raphael, being buried near their capomaestro solidified real or desired connections. The display of what was believed to be Raphael's skull in the seventeenth-century Roman Academy exhibits the new regard for the artist. The physical being of the artist came to be an object charged with meaning, similar to a holy relic, bringing new meaning to the concept of the "divine artist." For others, viewing the miracle of the unmarred corpse of Michelangelo, their padre delle tre arti, upon the opening of his coffin after it arrived in Florence, left a lasting impression. By exploring the panegyric following of Raphael and Michelangelo with a focus on tomb memorials, this dissertation explores what is meant by the phrase the "cult of the artist," especially in relation to these two masters. In doing so, this study synthesizes and weaves together otherwise disparate sources in order to elucidate a better understanding of the idea of the artist during the Early Modern period in Italy. As it proves, honoring the artist through the creation of memorials was the principal way to publicly pay tribute to those in the trade and provided a new type of artistic camaraderie. / Art History

Michelangelo Antonioni (1912-2007) belonged to a generation of filmmakers that breathed new life into cinematic expression in the annals of modern-day European film history. By employing his background as a documentary filmmaker, Antonioni used these skills to help establish his own particular style. There was a distinct evolution of style which progressed during his triology L´Avventura, La Notte and L´Eclisse, 1959-1962. This theises presents a comperative study between his earlier films in black and white and his first color film - Il deserto roso, from 1964. By observing color in relation to narrative, dialouge, acting and elements of mise-en-scène, I suggest different answers than those previously discussed among critics concerning this interrelationship. I also discuss how camera technique has presented new possibilities in this area. Concerning references from the texts and books by influential critics, I add my own visions and interpretations concerning this subject. Moreover, I have looked at other filmmakers and their productions´use of colors. One of the crucial themes of this text is how these two formats - black and white and color - bring different modes of meaning and affect their specific films´narratives.

Ouvrage issu de : Thèse (Ph.D) : histoire de l'art : University of the Witwatersrand : Johannesburg, 1991. / Bibliogr. p. 331-360. Index.

I följande uppsats så analyseras alternativa och ofta uppseendeväckande tolkningar av kända konstverk, närmare bestämt interpretationer som menar sig peka på dolda budskap från konstnären. Bildtolkningarna granskas i ljuset av spårsökande paradigm samt det skelett som utgör konspirationsteorier. Konspirationsteorier handlar ofta om makt och politik, men det hindrar inte att strukturen som upprätthåller dessa teorier kan sprida sig till och florera även inom andra ämnen. Undersökningen analyserar vad som händer med bildtolkningarna när de sätts i relation till teorier om konspirationsteorier. Resultatet visar att bildtolkningarna i hög grad är formulerade som samt bygger upp sin bevisning i enlighet med konspirationsteorier, och det spårsökande paradigmet är ständigt närvarande med ett fokus på detaljer för att bättre förstå helheten.

Michelangelo Phenomenon provides an interpersonal model of goal pursuits and suggests that close partners sculpt one another and help them move toward their ideal selves. Attachment theory also provides a parallel explanation of how close others can help one another move toward their goals. The purpose of the current research was to look at the influence of attachment on the Michelangelo Phenomenon and test whether it best fit as a predictor, mediator, or moderator. The hypotheses were tested across three studies (two longitudinal and one cross-sectional) using a maximum likelihood estimation path analysis following APIM assumptions. The results provided strong support for the link between attachment and the Michelangelo Phenomenon. Across three studies, attachment acted as a predictor of the Michelangelo Phenomenon with higher levels of attachment anxiety and avoidance predicting lower levels of affirmation. Relevance to therapy and future directions are also discussed.

No description available.

The following thesis is a meditation on the drawings of Michelangelo that are connected to his three projects at San Lorenzo and a series of 'gift' drawings for Tomasso de'Cavalieri. The drawings offer a glimpse of his radically inventive imagination that calls for an architecture rooted in the soul and based on the appearance of a 'live' and an emotive body. Engaged within a holistic fabrication of architecture, both the recto and the verso of the sheet are constructed as palimpsests comprised of design sketches, figurative studies, poetic fragments and pragmatic calculations. As instruments of communication, Michelangelo's paper templates are intermediaries between the 'Divine One's' mindful hand and the scarpellini's chisel. A line can be traced from the outline of his disegno , the profillo of a face and the cut line of his modani. Poetry and profiles cross-pollinate in a poiesis of architecture that culminates at a threshold---the hinge between being and becoming---the place where Love tosses in his sleep.

Zugl.: Lüneburg, Univ., Magisterarbeit, 2001 u.d.T.: Kaiser, Tina Hedwig: Filmbilder des Stadtraums und Stadtgangs

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1993. / Includes abstract and vita. Includes bibliographical references (leaves 104-112).

Texte remanié de: Thèse 3# cycle--Lettres--Paris X, 1969. / Thèse soutenue sous le titre : "Cinéma moderne et société de consommation.