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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Shakespeare's Paragones:

Danforth, Deanna Malvesti January 2021 (has links)
Thesis advisor: Mary Crane / This project examines Shakespeare’s engagement with and refashioning of one of the primary aesthetic debates of his time known as the paragone, most often invoked in the English context by the Horatian maxim ut pictura poesis (“as painting, so poetry”). Sometimes a neutral comparison of the arts, at other times a rivalry, Shakespeare’s own paragones measure the representational capacities and constraints of narrative and lyric poetry against embodied drama, and simultaneously with regard to painting and sculpture. The primary way in which Shakespeare conducts these explorations, I argue, is by turning to rhetorical figures and tropes that can be translated across mediums, experimenting with how they function differently or the diverse ends to which they can be put. Thus, in each chapter, I pair one of Shakespeare’s freestanding works of poetry with one of his plays and examine the figure or trope that they have in common. Chapter 1 focuses on Venus and Adonis, Henry V, and deixis; Chapter 2 concentrates on Lucrece, Titus Andronicus, and ekphrasis; and Chapter 3 centers on the Sonnets, The Winter’s Tale, and the trope of poetry as monument. Reading Shakespeare’s major works of poetry alongside his plays in this way, I contend, challenges the long-held critical opinion that for Shakespeare, drama is the triumphant medium of representation. Rather, such an investigation reveals Shakespeare’s awareness of the inherent paradoxes that each medium holds as well as his desire to exploit their potentials to the fullest degree. / Thesis (PhD) — Boston College, 2021. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.
2

The Venetian Paragone: A Study of Titian’s Five “Venus and Musician” Paintings

Bougher, Heather A. 25 May 2021 (has links)
No description available.
3

Aux frontières du décor : le stuc dans l'art romain de la Renaissance. Marginalité, simulacres, transgressions / The frontiers of decoration : stucco in Renaissance roman art. Marginality, simulacra, transgressions

Cordon, Nicolas 01 December 2018 (has links)
Technique décorative antique plébiscitée par l’art romain, le stuc connaît une véritable renaissance à Rome durant le XVIe siècle. À partir d’un intérêt pour une esthétique antiquisante, les artistes modernes ont intégré le stuc à des problématiques plus précises concernant le dialogue entre les arts et l’exploration des frontières implicites et explicites délimitant l’art et son espace de réception. Le stuc est en effet employé à la Renaissance aussi bien en architecture (pour les moulures et ornements, pour recouvrir la brique et donner une allure « marmoréenne » aux édifices), en peinture (pour servir de support à la fresque et y intégrer le relief) et en sculpture (pour l’exécution de reliefs figuratifs et de figures allant jusqu’à la ronde-bosse, intégrées le plus souvent à un décor peint). Loin d’opposer ces disciplines, le stuc les relie en s’emparant de leurs modes d’expression pour les faire cohabiter au sein du décor et, ce faisant, permet aux artistes d’adopter un point de vue réflexif quant à leur pratique, orienté vers l’investigation des moyens et natures de la représentation. Cette introspection se double, comme un corollaire, d’une investigation des effets de l’art et de sa capacité à convoquer le spectateur, à l’impliquer et l’intégrer au sein de la représentation afin de rendre plus mouvantes et fluctuantes les limites du décor. À partir d’une position « ornementale », voire « marginale », nombre de figures de stuc exécutées à Rome dès avant l’âge Baroque semblent vouloir offrir à la notion de frontière une application très originale, où les questions du simulacre et de la transgression se trouvent subtilement investies et convoquées. / As an ancient decorative technique favoured by Roman art, stucco is given a genuine renaissance in Sixteenth century Rome. Modem artists’ general interest in Antiquity includes more precise considerations regarding the possible functions of stucco in the dialogue between the arts, and explorations of the frontiers separating art from its beholder. Indeed, stucco is being used during the Renaissance in architecture (for the moulding and ornaments, to coat brick walls and give it a "marmoreal" appearance), in painting (as an intonaco for fresco) and in sculpture (to make figurative reliefs and free standing figures, generally combined with mural paintings). Far from opposing the arts, stucco connects them by taking possession of their modes of expression to make them work together inside the decorative systems and, doing so, gives the artists the opportunity to adopt a reflexive point of view regarding their practice, looking toward the investigation of the nature and means of representation. This particular introspection is also a research on the effects of art and its ability to convoke the beholder, to make him part of the representation and make more ambivalent the boundaries of decoration. From an "ornamental", even "marginal" position, numerous stucco figures executed in Rome before the Baroque age give the concept of aesthetic frontier an original instance, where simulacra and transgression are ingeniously summoned.
4

Luca Signorelli (vers 1445-1523) en son temps, " ingegno e spirito pelegrino“, la peinture de chevalet / Luca Signorelli (circa 1445-1523) in his time, « ingegno e spirito pelegrino » : the easel painting

Pernac, Natacha 28 November 2009 (has links)
Répondant au caractère « pelegrino » attribué à Luca Signorelli par son contemporain Giovanni Santi, notreréflexion s’articule autour de la triple itinérance du peintre cortonais. La première, fondée sur une géographieartistique, met en jeu commanditaires et collaborateurs entre centres et périphéries et réévalue son imaged’artiste provincial. Il s’agit consécutivement d’établir l’incidence des dévotions locales sur le langage picturalsignorellien, notamment par le biais de la sacra rappresentazione (I). La seconde itinérance, de typeinterdisciplinaire, s’attache à son traitement de la figure humaine et du nu. L’élaboration de sa vision du corpsest confrontée à l’essor contemporain d’une anatomie scientifique et d’une approche expérimentale ou théorique,ainsi qu’à la question des convenances. La sensibilité tactile particulière de Signorelli, sa position dans le débatnaissant du Paragone et les modalités des transferts entre peinture et sculpture sont examinées, tout commel’éventualité d’un passage à l’acte sculptural (II). L’esprit vagabond de Luca, qui s’affirme enfin par uneitinérance temporelle, oscille entre intérêt pour le passé, goût archaïsant et aspiration au renouveau. Sont ainsiétudiés son rapport à l’art antique et sa place entre « seconda e terza età », en spécifiant ses liens avec l’ars novaet les ferments inédits semés. Au-delà des étiquettes de retardataire local ou de précurseur écrasé par un Michel-Ange, cette étude vise à restituer la curiosité, la sociabilité et les échanges d’un artiste de transition (III). / Giovanni Santi has depicted his contemporary Luca Signorelli as a « pelegrino » painter. From this startingpoint, our study deals with the cortonese master’s triple itinerary. The first one, relative to artistic geography,concerns patrons and collaborators between centers and peripheries and we intend to reappreciate his image of aprovincial artist. We investigate consequently the impact of local devotions and sacra rappresentazione on hispictorial language (I). The second itinerary, a interdisciplinary one, focuses on the treatment of the human figureand on the nude. His vision of the body is compared with the contemporary development of a scientific anatomyand with practical and theoretical approaches. Indeed it raises the question of the proprieties. The tactile qualitiesof signorellian art, his position in the emerging Paragone debate and the modalities of his volumetric translationare also studied ; we consider the possibility of a sculptural activity (II). Finally, Luca’s roaming imaginationarises from a temporal oscillation between interest for the past, archaic taste and an aspiration for renewal. Wethus examine his relationship with antique art and his position between « seconda e terza età », analyzing hisconnections with ars nova and the original seeds he sow. Beyond the reputation of a local latecomer or of aforerunner in the shade of Michelangelo, we aim to emphasize this way the curiosity, the sociability and theexchanges of a transitionary artist (III).

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