Bibliography: p. leaves 62-68.

Notre mémoire propose une nouvelle compréhension des portraits bourgeois peints au Bas-Canada entre 1790 et 1830. Partant du constat que ces portraits étaient symptomatiques de la société dans laquelle ils ont été conçus, c'est le concept de « représentation sociale » qui dirige l'ensemble de notre étude. Pour ce faire, nous avons élaboré une argumentation en trois chapitres. Le premier chapitre nous permet de situer les éléments théoriques et historiques nécessaires à la compréhension du désir de représentation. S'ensuit, dans le deuxième chapitre, une analyse plastique, stylistique et iconographique, d'un vaste corpus de portraits, peints par cinq artistes. mis en relation avec la biographie des différents bourgeois portraiturés. Finalement, le troisième chapitre nous permet de donner tout son sens à cette analyse. La présentation des différents liens unissant les modes de représentativité de la bourgeoisie et ses aspirations, permet de comprendre le portrait, à la fois reflet de la société, de ses valeurs et de son évolution, comme un puissant objet de représentation sociale.

This thesis, Parallels in portraits of leadership in mega churches of Gauteng (RSA) and Florida (USA), the researcher, studied literature on church leadership with special reference to the leadership of mega churches. He researched issues relating to the nature of church leadership by exploring relevant Bible passages, the lives of certain Bible characters that the Bible presents as good but not perfect leaders, as well as relevant key theological conceptions of leadership. The study accordingly also reviewed different models of church leadership on the hand of a study of some Bible passages and current theological thinking about the matter. The thesis demonstrated that the leadership of mega churches requires certain leadership qualities, values, and competencies. The contribution of the study lies therein that it confirmed and identified through a comparative empirical analysis of details collected through basic research in mega churches of Florida (USA) and Gauteng (RSA) the qualities, values and competencies that are essential for successful leadership of mega churches in very different contexts and church families. The study therefore recommends a desirable leadership style and essential qualities for effective church leadership of mega churches. The study also makes a contribution to the theological understanding of a new but growing church type in urban settings, the mega church; and is of great value to those that lead and study such churches. / PhD, Biblical Studies, North-West University, Vaal Triangle Campus, 2012

Taikomosios grafikos magistro darbe analizuojami skirtingi 15-20 amžiuose gyvenę menininkai, savitai vaizdavę artimųjų portretus. Šiame darbe artimaisiais laikomi ne tik menininkų šeimos nariai, bet ir žmonės, su kuriais autorius turėjo reikšmingų santykių. Portretų vaizdavimas analizuojamas skirtingais lygmenimis. Skyriuje „Portretas kaip atspindys“ tiriamas Albrechto Dürerio, Rembrandto Harmenszoon van Rijno, Luciano Freudo, Salvadoro Dali, Chucko Close‘o artimųjų portetų vaizdavimas. Emilio Nolde, Egono Schiele, Henry Moore‘o, Francis Bacono kūrybos artimųjų portretai analizuojami skyriuje „Emocionalus portretas: Išraiška svarbesnė už estetinę formą“. Neigiamu lygmeniu artimųjų portretai Louise Josephine Bourgeois, Andy Warholo ir Francesco Clemente kūryboje analizuojami skyriuje „Kritiškas santykis su artimaisiais portrete“. Skyriuje „Artimųjų portretai personifikuotuose įvaizdžiuose“ tiriamas Odilono Redono, Arto Spiegelmano ir Williamo Kentridge‘o personifikuotų artimųjų portretų vaizdavimas. Visi analizuoti menininkai rinkosi skirtingai išreikšti artimųjų portetus bei santykį su jais. Artimųjų portretams vaizduoti šie menininkai naudojo įvairiausias grafikos priemones, kurios atitiko laikmečio kūrybos būdus ir principus, tačiau ir skaitmeniniame amžiuje menininkai naudojo tradicines priemones. Realistinė maniera (tikroviškas artimojo atvaizdo perteikimas) iki šiol yra pats dažniausias menininkų raiškos būdas. / Applied Graphics Master degree's theory work analyzes close persons portraits from different artists who lived from XV century to the beginning of XXI century. This work includes not only family members of the artists, but also people with whom the author had a significant relationship. Portraits are analyzed in different levels. In the „Portrait as a reflection“ chapter, portraits of the close people by such artists as Albrecht Dürer, Rembrandt Harmenszoon van Rijn, Lucian Freud, Salvador Dali, Chuck Close are analyzed. Works of Emil Nolde, Egon Schiele, Henry Moore, Francis Bacon are analyzed in „Emotional portrait: expression is more importaint than aestetic form“ chapter. Negative aspects of Josephine Louise Bourgeois, Andy Warhol and Francesco Clemente close persons portraits are analyzed in „Critical ratio with close person in portrait“ chapter. In chapter „Portraits of close persons in personified images“ works of Odilon Redon, Art Spiegelman and William Kentridge are analyzed. All analyzed artists find different ways to express relation between them and close persons. To depict portraits artists used variety of graphic tools, which correspond to the those days methods of creation. But in the digital age, artists are also using traditional techniques and tools. The realistic style is by far the most common way of expression for artists.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Thesis (M.A (History of Art))--University of the Witwatersrand, Faculty of Humanities, School of Arts, 2016 / This research report explores how the eighteenth century Romantic Child Ideal influenced the representations of children created by artists Terry Kurgan and Mark Hipper, and subsequently what the responses to these works reveal about a relationship to and participation in the ideal within the context of South Africa in the late 1990s. Through a close reading of two seminal exhibitions, the group show Purity and Danger (1997) which featured Terry Kurgan’s photographs of her son, and Vicera (1998) Mark Hipper’s mixed media offering of child nudes, I analysed the manner in which these artists both perpetuate and subvert the Ideal through their specific visualisations of the child. / MT2017

Orientador: Sérgio Mauro Romagnolo / Banca: José Leonardo Nascimento / Banca: Helena Gomes dos Reis Pessoa / Resumo: Aproprio-me da literatura para falar do processo criativo na fatura de meus autorretratos, me recorro aos contos homônimos de Machado de Assis e Guimarães Rosa, O Espelho. Elemento imprescindível para as composições plásticas e que também desdobra em questões filosóficas por se tratar das percepções da autoimagem, desta maneira, a investigação se apoia em conceitos da psicanálise conforme as relações do imaginário e do fazer artístico. / Resumen: Apropiome de la literatura para hablar del proceso creativo en la elaboración de mis autorretratos, me vuelvo a los cuentos homónimos de Machado de Assis y Guimarães Rosa, El Espejo. Elemento indispensable para las composiciones plásticas que también dispone cuestiones filosóficas, por tratarse de las percepciones de la auto-imagen, de esta manera, el estúdio se basa em conceptos del psicoanálisis de acuerdo con las relaciones del imaginário y la creación artística. / Mestre

This dissertation presents the first full length study of Antonello da Messina's portraits. While Antonello has been justly acknowledged as the first Italian painter to consider the portrait an independent work of art, his portraits are often characterized as imitations of Netherlandish models, and they are rarely discussed outside of the context of Venetian or Netherlandish portraiture. This study reintegrates Antonello's portraits in the wider context of fifteenth century Italy and argues that his portraiture is deeply rooted in the interests of the most prominent early Renaissance theories of painting. Antonello is among the first Italian painters to claim the face as a locus for identification, and to answer the demand that painting capture both the physical and mental aspects of the sitter. The first chapter analyzes the recent literature on the portraits and demonstrates how they have been marginalized by scholarship despite being lauded as highly influential. The second chapter evaluates the portraits as a body of work from the standpoint of form and technique, and incorporating the most recent technical analyses, demonstrates how Antonello achieved certain effects to arrive at what may indeed be considered a wholly independent work of art. The third chapter relates how Antonello's innovations in portraiture corresponded with a growing desire for a new kind of painted portrait in the mid fifteenth century. It reconsiders the origin of the painted, three quarter view portrait in Italy and explains how ancient authors presented a challenge for the painted portrait that could only be met in fifteenth century Italy by an entirely new form and style, represented in the work of Antonello da Messina. The fourth chapter examines the portraits in the context of Venetian patronage, looking more closely at his only known portrait sitters, Alvise Pasqualino and Michele Vianello, and the social and personal identities of Venetian citizens and nobles. This chapter relates how the theoretical demands of humanists translated for real patrons and collectors, and clarifies Antonello's relationship to extant portraiture in Venice at during the last decades of the fifteenth century, particularly the work of Giovanni Bellini. Ultimately Antonello da Messina's portraits had far reaching influence because they addressed some of the fundamental problems and challenges of representation in the early Italian Renaissance, for the first time, in portraiture.

A thesis report submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Painting.

Texte remanié de: Diss.--Ruhr Universität--Bochum, 1996. / Bibliogr. p. 9-11. Index.