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21	L'oeuvre de Yun Duseo (1668-1715), peintre-lettré coréen à l'époque "prémoderne" / The work of Yun Duseo (1668-1715), a korean scholar-painter at the premodern period Ryu-Paganini, Naeyoung 13 October 2017 (has links) L’œuvre de YUN Duseo (1668-1715), peintre lettré ayant vécu lors de la dernière monarchie coréenne, reflète la forte sinisation de la société de l’époque. Cette œuvre est un fruit de la civilisation du « monde chinois », et interroge les principes esthétiques et le statut de la peinture dérivés de la doctrine néo-confucéenne, doctrine elle-même ici associée à des doctrines souvent considérées comme opposées, le taoïsme et le bouddhisme. YUN Duseo invente une peinture « pré-moderne » qui met en valeur de manière nouvelle des figures humaines, les portraits en particulier, et donne une nouvelle forme à des sujets courants de la peinture chinoise, les natures mortes ou les scènes de la vie quotidienne. La peinture de YUN Duseo, influencée aussi bien par un mouvement de retour aux sources de la culture chinoise que par le contact avec la culture européenne, est étudiée principalement à travers le prisme du rapport entre peinture et écriture. / The work of YUN Duseo (1668-1715), a scholar-painter who lived during the last Korean monarchy, reflects the strong sinicization of contemporary Korean society. Indeed, such work is a product of the civilization of the ‘Chinese world’: it questions the aesthetic principles and the status of painting stemming from the Neo-Confucian doctrine, a doctrine itself associated with two often opposed doctrines, Taoism and Buddhism. YUN Duseo invented a ‘pre-modern’ painting that emphasized human figures, and particularly portraits, in a novel way and gave new form to common subjects in Chinese painting, whether still lives or scenes of everyday life.YUN Duseo’s painting, influenced by a return to the sources of Chinese culture as well as by the contact with European culture, is examined here through the prism of the relation between painting and writing. YUN Duseo Peintre lettré Peinture "pré-moderne" Art de l'écriture Rapport entre peinture et écriture Portrait Figure humaine Sinisation YUN Duseo Scholar painter 'pre-modern painting' Art of writing Relation between painting and writing Portraits Human figure Sinicization 759
22	Im Rahmen des Möglichen : Studien zur Bild- und Raumkonzeption der Malerei des 19. und 20. Jahrhunderts / Müller, Axel January 1990 (has links) Texte remanié de Diss. Philosophische Fakultät Giessen, Justus-Liebig-Universität 1988. / A revision of the author's thesis (doctoral--Justus-Liebig-Universität Giessen, 1988). Includes index.
23	Variações sobre o preto e o negro na pintura moderna / Variações sobre o preto e o negro na pintura moderna Marcela Freire Rangel 15 April 2009 (has links) Esse estudo trata de seis variações do preto na pintura. O trabalho apresenta telas de Edouard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued e Pierre Soulages. A pesquisa das obras e procedimentos poéticos desses pintores visa a indicar para diversas maneiras como o preto, não mais usado para o sombreado, se transforma em áreas de cor e como esses campos cromáticos atuam nas pinturas. A análise mostra que a cor preta, na qual há variações de tonalidade e saturação, pode ser usada como um meio de tensão cromática na superfície pictórica, como um elemento expressivo, ou para criar uma nova espacialidade para além do plano do quadro. Vale a pena notar que esses usos não são mutuamente exclusivos e, por exemplo, o preto que cria a tensão cromática pode ser expressivo e criar uma nova espacialidade. / This essay deals with six variations of black in painting. Reaserch on the production and poetic procedures by Eduoard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued and Pierre Soulages, indicates several manners where black, contrary to its use as a shadowing component, transforms itself in areas of color. The manner in which the cromatic fields act upon the painting is analised and show that the color black, with its variations in tone and depth, may be used as an element of expession; as a means for chromatic tension over the pictures surface or for the production of a new spaciality beyond its surface. These uses are not mutually exclusive and, as where black creates chromatic tension, it may also be expressive and generate a new spaciality. Cor preta Edouard Manet Eduardo Sued Henry Matisse Iberê Camargo Pierre Soulages Pintura moderna Vincent van Gogh color black Edouard Manet Eduardo Sued Henry Matisse Iberê Camargo modern painting Pierre Soulages Vincent van Gogh
24	Christologické motivy v novodobé české malbě a grafice / Christologic motives in the modern Czech painting and graphic art Krtička, Jiří January 2011 (has links) The thesis maps the occurrence of christological motifs in the Czech painting and graphics after 1900 and compares approaches of artists of different generations to their depiction. Selected christological art works are analysed from three main aspects: 1. iconography, 2. style and form, 3. philosophical and psychological resources. A particular chapter deals with christological motifs in modern liturgical art. The conclusion of the work evaluates the significance of the christological theme in context of the modern Czech art development.
25	Beyond Titian's Venus: The Nude Body and Social Control in Late Cinquecento Venetian Painting Koncz, Caroline Delia 07 September 2022 (has links) No description available. Art History Gender Studies Womens Studies Literature History
26	Henri Rousseau, 1908 and after : the corpus, criticism, and history of a painter without a problem Haskell, Caitlin Welsh 25 June 2012 (has links) This dissertation considers Henri Rousseau (1844-1910) as a painter and as a figure of discourse. It addresses the longstanding concern of Rousseau’s resistance to interpretation and proposes that this derives from Rousseau’s incomplete fulfillment of the professional obligations of the artist, specifically, from his failure to motivate his work through the pursuit of what modern art critics commonly called “a problem.” Rousseau did not practice painting as artists of his day did, and because of this difference—first articulated by Guillaume Apollinaire in 1908 as an absence of artistic inquiétude—he entered the discourse of art with unprecedented susceptibility to reinvention. The Rousseau we know today, the Rousseau who was a miraculous modernist in the interwar period, and the Rousseau who emerged in the context of the avant-garde in the earliest years of the twentieth century share little besides a name, and this frustrates any effort to write a coherent history of the painter and his pictures. Rather than propose once again Rousseau’s recuperation into a traditional art-historical narrative, this dissertation tells the history of a maker who produced admirable images but fulfilled few other author-functions, and it tells the history of writers who, compensating for Rousseau’s authorial deficits, produced a new artist, a new body of work, and widespread puzzlement about the place of each in the history of modern art. / text Henri Rousseau Douanier Rousseau Le Douaunier Rousseau Modern art Modern painting Twentieth-century art Twentieth-century painting Art criticism Painter without a problem Just painting Daniel Catton Rich Alfred H. Barr, Jr. Andre Salmon Guillaume Apollinaire Clive Bell Roger Fry The Sleeping Gypsy Jungle paintings Bonne fete The Holy Family Intention deficit disorder Tree of modern art Professionalism Critical resistance
27	Vlakové nádraží / Railway Station PETRÁŠOVÁ, Jitka January 2007 (has links) The theoretical part of this work refers to the presence and approach to the technical element in former and current Czech art. It closely inquires into this theme in the work of the outstanding contemporary Czech artists and it also mentions the graffiti phenomenon and its influence on the present artistic production. Furthermore it explains my intention and technical method in the course of creating the practical part of the work - a cycle of six thematic paintings.

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