Le portrait équestre se définit comme le portrait d’une personne figurée à cheval hors narration.La thèse propose d’identifier et de commenter les raisons, les moyens et les finalités des cent vingt-huit portraits équestres du corpus, réalisés par des artistes italiens entre 1229 et 1511. L’analyse de l’histoire et du concept du portrait équestre italien de la fin du Moyen Age au début de la Renaissance s’articule en deux grandes parties. La première partie présente et décrit les portraits du corpus, en fonction des objets qu’ils constituent et de leurs spécificités matérielles.La seconde partie traite de leur analyse iconographique. Ces effigies qui représentent des détenteurs du commandement militaire constituent un type spécifique de portrait officiel, qui se distingue par la présence fondatrice du cheval. Caractérisé par une forte empreinte martiale, entre le début du XIIIe et le début du XVIe siècle, le portrait équestre se trouve au coeur du choc des imaginaires politiques qui anime la Péninsule. Outil d’affirmation et d’authentification du pouvoir, ce type de portrait officiel est utilisé comme instrument de légitimation, voire de propagande. / Equestrian portraits are defined as the portrait of an individual shown on horseback without any context. The dissertation proposes to identify and comment on the reasons for methods of creation and uses of the 128 equestrian portraits in the corpus of such depictions created by Italian artists between 1229 and 1511. The history and concept of Italian equestrian portraits from the end of the Medieval period to the beginning of the Renaissance are analyzed in two major sections. The first presents and describes the portraits in the corpus on the basis of object type and their specific material characteristics. The second is an iconographic analysis. These effigies which represent military commanders constitute a specific type of official portrait, which is differentiated by the fundamental presence of the horse. Typified by a strong martial imprint,between the beginning of the 13th and the beginning of the 16th century, equestrian portraits are at the heart of the conflict among political imaginations that enlivened the Peninsula at that time. A tool for the affirmation and validation of power, equestrian portraits are used as an instrument of legitimation, even of propaganda.

Dans cette étude, nous examinons le développement du portrait peint à l’époque hellénistique et romaine dans une aire géographique étendue qui couvre la Grèce continental, l’Italie du Sud et les régions d’Égypte où la civilisation gréco-romaine fut présente. Étudier la peinture des portraits, conservée sous une forme très lacunaire, exige deux méthodes parallèles : l’approche de la théorie par les sources écrites, ainsi que la constitution d’un corpus archéologique des œuvres conservées. Notre but est d’organiser la documentation pour mettre en évidence certains dossiers utilisant une approche analytique, susceptible d’initier une discussion sur la construction des notions qui fabriquent le portrait antique. Le portrait peint est vu à la lumière d’une documentation textuelle enrichie et se croise avec les images que notre conception reconnaît sur les monuments peints, comme des représentations qui expriment la relation étroite entre le modèle original et sa figuration picturale. / Object of this research is the study of the development of portrait painting in the Hellenistic and Roman period through the monuments from continental Greece, South Italy and the areas of Egypt, where the Greco-Roman civilization was present. The study of ancient portrait painting, which is preserved in a very fragmentary form, demands a double approach: the study of the theory through the literary documentation and the display of an archeological catalogue through the preserved monuments. Aim of this research, is to organize the documents using an analytical approach, witch initiates a discussion of concepts that contributes to the construction of notions of the ancient portrait. The painting of portraits is seen through a comparison of a textual enriched documentation, and the painted images, that our conception recognizes as representations, expressing the close relationship between the original model and its pictorial representation.

Dans le cadre de ce doctorat sur la représentation des bijoux féminins dans les portraits de l’Égypte romaine, les recherches se concentraient sur les « portraits du Fayoum » et masques funéraires des trois premiers siècles après J.-C.Bien que les masques funéraires et les portraits du Fayoum aient été le sujet de plusieurs publications pendant ces dernières années, il nous manquait encore une étude détaillée sur les bijoux féminins qui s’inspiraient presque exclusivement de la mode romaine. Une classification chronologique de ces portraits, mais aussi des masques funéraires, pouvait être obtenue par les coiffures féminines. Par conséquence, la distinction des portraits par époque nous permettait d’identifier les changements dans la mode des bijoux pendant les trois premiers siècles après J.-C., en donnant aux archéologues la possibilité de classifier encore mieux certains types de bijoux qui sont découverts pendant des fouilles ou sur le marché de l’art. Dans le cadre ce cette étude, les diverses représentations de bijoux, en provenance d’autres provinces romaines mais aussi des originaux, appartenant à des trésors et à des tombes datés étaient également consultés. L’application de nos résultats à d’autres contextes géographiques est toujours légitime, car les mêmes principaux types de bijoux étaient utilisés dans tout l’empire romain.Grâce à toutes ces données, il était possible de reconstruire les différents aspects de la mode des bijoux pour les différentes dynasties impériales pendant les trois premiers siècles après J.-C. / This particular PhD research project focuses on the representation of jewellery on “Fayum portraits” and mummy masks from Roman Egypt. Even though Roman mummy masks and the so called “Fayum portraits” have been the subject of numerous research in recent years, a detailed study on the individuals’ jewellery is still missing up to this date. This is particularly regrettable because females on these portraits are almost exclusively wearing Roman-type jewellery. A chronological order that includes a precise dating must be obtained by the female hairstyles that have been influenced by Roman fashion dispersed in the Roman Empire through representations in form of busts, coins and paintings of the Empresses and members of the imperial families. Consequently, this chronological order allows us to identify the various changes in the jewellery fashion throughout the imperial dynasties of the first three centuries A.D. A goal of the chronological classification of jewellery in the art of Roman Egypt is to help future researchers to date jewellery more precisely, in particular – which is quite common for jewellery - when their provenance is unknown or imprecise. The results will be complemented by representations of jewellery in art from other regions of the Empire but also by actual dated finds. Finally, all these factors will help to obtain a better understanding of Roman jewellery fashion, its distribution and even more which types were “à la mode” at what particular time.

Le fard est une composition dont l’application sur la peau donne à celle-ci plus d’éclat ou masque un défaut physique. Accusé de tromper, instrument futile ou diabolique auquel fut comparée la peinture, le fard se définit par sa fonction mais ne s’y réduit pas. L’observation de trois vidéos permet d’étudier le fard en tant qu’il est matière colorée et conduit à déterminer ses propriétés spécifiques et les possibilités plastiques qu’elles véhiculent.Cette recherche vise à établir les modalités d’une relation entre le fard, la couleur, et le corps support au travers d’expériences plastiques filmées pour le caractériser ensuite comme médium à partir d’une pratique personnelle. / Makeup is a composition which when applied to the skin gives it more brightness or hides a physical defect. Accused of cheating, a futile or diabolical instrument, which paint has been compared, make-up is defined by its function but has lost nothing through this.The plastic arts experience allows study of make-up because it is colored and this helps determine its specific properties and plastic possibilities.This research aims to establish the details of a relationship between makeup, color and the body, using several videos to characterize it as a medium based on personal practice.

Le portrait individuel, qui est toujours marqué par l’autorité et l’identité du modèle, devient un genre accessible pour les riches bourgeois et occupe une place culturelle importante au XVe siècle. Les grands portraitistes, particulièrement dans le nord de l'Europe, maîtrisent ce genre de peinture. Alors que les peintres flamands et les artistes italiens utilisent principalement une échelle similaire pour le portrait, Hans Memling (1433-1494) développe un vocabulaire visuel distinct pour ce genre. Par l’utilisation de paysages verdoyants à l’arrière-plan de ses portraits individuels, peints majoritairement à partir de 1470, Memling déborde des cadres picturaux européens traditionnels plus anciens, enracinés au Moyen Âge. Ce mémoire représente une analyse minutieuse de l’imagerie du paysage et de son rapport avec les contextes social, culturel et artistique dans les portraits de Memling; et il tente d’éclairer les conceptions de l’identité au XVe siècle. En considérant la structure de la production artistique à Bruges, cette étude examine le rôle de l'identité artistique ainsi que celle du modèle représenté, et la réciprocité de leurs caractéristiques avec la valeur conceptuelle du paysage. L’emploi de vastes paysages par Memling, à l'arrière-plan de ses portraits individuels, révèle une dualité de sens qui a contribué à la valeur unique et extraordinaire de ses œuvres. Cette représentation pourrait être signifiée non seulement par la pensée spirituelle de l’homme de la Renaissance, mais aussi par la définition sociale de la noblesse. En outre, elle pourrait faire référence à l’aspect expérimental et empirique de l’art de Memling. / The individual portrait, which is always marked by the authority and identity of the model, became an accessible genre for the rich bourgeoisie and occupied an important cultural place in the fifteenth century. The great portrait painters, especially in northern Europe, excelled at this kind of painting. While Flemish painters and Italian artists mainly used a similar scale for portraiture, Hans Memling (1433 – 1494) developed a distinct visual vocabulary for this genre. By using rich, green landscapes in the background of his individual portraits, painted mostly after 1470, Memling expanded the boundaries of an older European pictorial tradition, which was rooted in the Middle Ages. This thesis presents a careful analysis of landscape imagery and its relation to social, cultural and artistic contexts in Memling's portraits, and attempts to shed light on conceptions of identity in the fifteenth century. Considering the structure of artistic production in Bruges, this study examines the role of artistic identity as well as that of the model represented, and how this reciprocal relationship was represented within the conceptual value of the landscape. Memling’s use of vast landscapes in the background of his individual portraits reveals a duality of meaning that contributed to the unique and extraordinary value of his work. The inclusion of landscapes in a portrait may not only signify the spiritual philosophy of Renaissance man, but may also enhance the social definition of nobility. Moreover, the use of landscape in the portraits refers to the experimental and empirical aspect of Memling's art.

The subject undertaken in my dissertation work is the gallery painting collection from the aristocratic family 'Kolowrat', which is located within the family's palace in Rychnov nad Kněžnou. The Kolowrats established their gallery in the 16th century, the foundation of which was made to contain family member portraits. During this time portrait paintings comprised the main element and went on to create the portrait collection. The collection contains the oldest Bohemian aristocratic portraits from the Renaissance with portraits influenced by artists from the court of Emperor Rudolf II. It includes portraits from important artists as Karel Škréta, David Schultz or Philip Ch. Bentum and more. The portraits of family members document the history of the Kolowrat clan through the ages. At first this dissertation describes the history of the gallery and goes on to present select portraits from the beginning of the gallery until the 18th century. Keywords Aristocracy, the Rychnov nad Kněžnou palace, the Kolowrat family gallery, portrait collection, aristocracy portrait.

I denna kandidatuppsats har jag analyserat målningar av konstnärerna Elizabeth Vigée Le Brun och Adélaïde Labille-Guiard i form av självporträtt skapade i 1780-talets Frankrike.Uppsatsens syfte har varit att tolka de två kvinnornas kommunikation och skapandet av identitet genom sina konstverk och utröna hur denna kommunikation stod sig gentemotsamtidens syn på kvinnor. Genom analysering av konstverken med användning av Panofskysmetod för ikonologisk bildanalys, samt litteratur som berör centrala ämnen för uppsatsens syfte, har jag nått slutsatsen att dessa målningar var väsentliga verktyg för deras egetskapande av identitet. Jag observerade att flera aspekter av olika storlek i varje konstverk bröt med konventionen och bidrog till att vidga uppfattningen kring kvinnorna som individer, som konstnärer - och på en större skala, kvinnor i allmänhet. / In this bachelor’s thesis I have analysed paintings by the artists Elizabeth Vigée Le Brun and Adélaïde Labille-Guiard in the form of self-portraits created in 1780’s France. The purpose of the thesis has been to interpret the communication and creation of identity through the artwork of these two women and discern how this communication stood against the contemporary view of women. Through analysing the artworks using Panofsky’s method for Iconological image analysis, as well as literature concerning topics central to the purpose of the thesis, I have reached the conclusion that these paintings were instrumental tools for their own creation of identity. I observed that several aspects of varying size in each artwork broke with convention and contributed to widening perception around the women as individuals, as artists - and on a wider scale, women in general.

Denna studie lyfter fram lågstadieelevers språkliga repertoar i en glesbygdskommun med enstark anknytning till den samiska kulturen. Studien utgår från en fenomenologisk teori, ochtvå datainsamlingsmetoder som har använts i studien är visuella språkliga porträtt ochsemistrukturerade gruppintervjuer. Datainsamlingen genomfördes med två olika tredjeklassarepå två olika skolor. Språkporträtt är en kreativ arbetsprocess som inte har använts tidigare föratt ta reda på hur lågstadieelevers språkliga repertoar ser ut. Studiens resultat sammanfattar attspråk och icketraditionella språk har stor betydelse för elevernas språkliga repertoar. Vidarevisar resultaten att samiska är betydelsefullt för eleverna i årskurs tre, eftersom 18 av 26språkporträtt inkluderade något av de samiska språken, och språken fick ta stor plats påelevernas språkporträtt. Detta visar på hur viktigt språket är för eleverna. Resultatet ärbetydelsefullt eftersom en liknande studie inte representeras i aktuell forskning. Således bidrarstudien med en viktig röst när det gäller elevers språkliga repertoarer och deras erfarenheterav de samiska språken. / This study highlights the linguistic repertoire of primary school students in a rural municipalitywith a strong connection to Sami culture. The study is based on a phenomenological theory, andtwo data collection methods employed in the study are visual linguistic portraits and semistructured group interviews. The data collection was conducted with two different third-gradestudents from two different schools. Language portraits represent a creative work process thathas not been previously used to explore the linguistic repertoire of primary school students. Thestudy's findings summarize that language and non-traditional languages hold significantimportance for the students' linguistic repertoire. Furthermore, the results demonstrate thesignificance of Sami language for the third-grade students, as 18 out of 26 language portraitsincluded one of the Sami languages, and these languages occupied a prominent place in thestudents' language portraits. This highlights the importance of language for the students. Thesignificance of these findings lies in the fact that a similar study is not represented in currentresearch. Thus, the study contributes an important voice in understanding the linguisticrepertoires of students and their experiences with the Sami languages.

This dissertation maps a cross-cultural portrait atlas that traces Ottoman faces within the spaces and places of the nineteenth-century visual economy between 1863-1908. These photographic portraits reveal a reciprocal exchange and shared discourse between modernizing Ottoman and Euro-American worlds as mediated by expositions, publications, and museums. Three case studies are considered: sultanic portraits by Ottoman studios and their varied appearances in the picture press; the sumptuous album of regional Ottoman costumes commissioned in 1873 the Elbise-i Osmaniyye for the Weltausstellung Wien; and student portraits in a fifty-one volume photographic study gifted to the United States and Great Britain by Sultan Abdülhamid II in 1893 and 1894. It positions Ottoman portraits by photographers such as Pascal Sébah and Abdullah Frères as more than “Eastern” or “European,” “other” or “Islamic.” It considers these photographs multi-cultural, cosmopolitan, and politically complex entities that chart an international and networked history of art. Ottomans Abroad explores the ways in which contradictory notions about Ottoman identity materialize in a range of portrait images, and demonstrates how these photographs confront the effects of cultural belonging in a place where identity, and representations of that identity, have always been fluid. My first chapter maps the stories behind the small number of Ottoman sultanic photographic portraits made of Abdülaziz and Abülhamid II between 1863 and 1908. My second chapter concentrates on the 1873 Elbise-i Osmaniyye, exploring sartorial customs and regional costumes as portraits in their own right. My third chapter concentrates on school imagery in the 1893 Abdülhamid II albums, identifying how these photographs localize the topography of the nineteenth-century imperial terra firma; it connects regional portraiture to regional landscape, thus, broadening representations of likeness in nineteenth-century photographs. By articulating a local history of Ottoman photographs, tracing individual images and the stories that surround them, this project argues that photographs not only represent cultural identity, they also produce it. In so doing, this dissertation subverts a conventional biographical model, situating Ottoman portrait photographs in a multivalent, messy and transnational framework, which, in turn, generates photographic meaning. / 2020-01-23T00:00:00Z

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.