This thesis presents a close comparison of Augustus Charles Pugin's illustrations for Paris and its Environs and Gustave Doré's illustrations for London: A Pilgrimage. This comparison will reveal what is distinctive about each publication. To achieve this, the thesis begins with a consideration of how these illustrated books fit into the oeuvres of the artists and writers involved, and how the works were subsequently received. The thesis then seeks to discover the ways the books adhere to the picturesque and Realist aesthetic modes. A comparison of the representation of social and political issues within the publications reveals how the city is either celebrated or critiqued in them. This is extended by a comparison with other English views of Paris and French views of London. The thesis concludes with the suggestion that the works under consideration are akin to illustrated guidebooks and novels. The illustrations themselves form the primary evidence for this comparison, supplemented by the accompanying written texts and other sources - including contemporary periodicals and biographical material. Paris and its Environs is a significant work within Pugin's oeuvre and shows how he created a view of Paris which would appeal to the tastes and aspirations of his readers. With London: A Pilgrimage, Doré created a view of London which would entertain his English audience but challenge them at the same time.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-27T12:57:21Z No. of bitstreams: 1 giovanaloosmoreira.pdf: 4589505 bytes, checksum: fec6dbf1051694327fb64c886fe45a49 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-27T14:38:59Z (GMT) No. of bitstreams: 1 giovanaloosmoreira.pdf: 4589505 bytes, checksum: fec6dbf1051694327fb64c886fe45a49 (MD5) / Made available in DSpace on 2016-07-27T14:38:59Z (GMT). No. of bitstreams: 1 giovanaloosmoreira.pdf: 4589505 bytes, checksum: fec6dbf1051694327fb64c886fe45a49 (MD5) Previous issue date: 2016-07-20 / CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico / O estudo se deterá na compreensão da narrativa de História do Brasil produzida por Antônio Firmino Monteiro. Pintor do século XIX que se destacou, sobretudo, nas Exposições Gerais de Bellas Artes de 1879 e 1884. Recortaremos três telas, “Um episódio da Retirada da Laguna”, “O Vidigal” e “Capitão João Homem”, a fim de visualizarmos aspectos de contexto histórico e trajetória que formularam sua concepção crítica sobre a História do Brasil. / The study purpose is to provide an understanding of Brazil history writing as produced by Antônio Firmino Monteiro. Monteiro was a 19th century painter that stood out, above all, in the 1879 and 1884 General Exhibition of Fine Arts (Exposições Gerais de Bellas Artes). Three paintings are highlighted in order to expose aspects of historical context, as well the path that formulated his critical review about the history of Brazil.

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Cette thèse porte sur les représentations de l’Indien présentées dans les Salons parisiens et dans les sections des Beaux-Arts des Expositions universelles françaises. Elle débute avec la première apparition du thème au Salon, en 1781, et s’achève à sa disparition progressive, au commencement de la Première Guerre Mondiale. Le corpus rassemble des œuvres hétérogènes dont l’étude s’articule autour de trois grandes campagnes de représentation marquées par l’histoire des relations entre les Blancs et les Amérindiens. L’iconographie amérindienne dévoile une figure à la fois attractive et répulsive ; à l’esthétique de la disparition du «bon sauvage» répondent des mises en scène dégradantes. Notre étude rend ainsi compte des sources des imaginaires collectifs et des stéréotypes raciaux assignés à la représentation de l’Indien. Mais l’iconographie amérindienne survient également des impressions d’artistes ayant été à la rencontre de leur sujet. Pour ce groupe de quelques Français et Américains, la question de la représentation de l’«Autre» ne se joue pas exclusivement à travers les schèmes esthétiques abordés auparavant. Les déplacements répétés sur le continent nord-américain et l’attention portée à l’art amérindien favorisent un élargissement des horizons artistiques. Cette thèse est enfin l’occasion d’étudier l’image de l’«Autre» dans le cadre compétitif des Expositions universelles, où la figure de l’Indien tergiverse entre recherche de vraisemblance et sujet d’art. Il en ressort la constitution d’un discours visant à encourager la construction d’une identité esthétique nationale américaine au contact de l’art français. / This Ph. D. dissertation investigates images of Native Americans displayed at the Paris Salons and in the Fine Art sections of the Great Exhibitions of 1855, 1868, 1878, 1889 and 1900. My analysis starts with the first outbreak of the theme at the 1781 Salon and ends following its gradual dismissal at the beginning of the First World War. The body of artworks I analyze documents three main campaigns of representation marked by the history of Native Americans and Whites relations. These representations reveal an artistic figure both attractive and repulsive at the same time. The rhetoric of the disappearance of the “Noble Indian” alternates with degrading images of the “Savage Indians”. Our study reveals the origins of collective imagination and racial stereotypes that originate representations of “Indians”. But this iconography is also based on artists’ itinerancies and their migration to the West in order to meet their models. The artistic production of this small group of French and American artists can not be reduced exclusively to the two aesthetic patterns previously discussed. Their travels on the North American territory and their attention to Native American Art encourage new artistic horizons at the Paris venues. This thesis is also an opportunity to study the image of the Native American “Others” displayed in the competitive Fine Art sections of the Great Exhibitions. It brings out a discourse promoting the figure of the “Indian” to build an American art with its own aesthetic in response to French artistic influences.