As human beings we are designed and created in a fabric that is profound and complex. We are built with a framework where mind and body work in a concerted effort to maintain our lives automatically. A deep and defining part of our existence as humans is not just the innate desire to live but to live in consistent well-being--emotionally, physically, and mentally. I believe when we incorporate our knowledge of human physiology into our creative process then we allow ourselves a greater opportunity to create an authentic connection with our intended audience. My work during the past three years has been rooted in the study of these philosophical and scientific principles. I created a series of visual experimentations that aim to assist in my understanding of human beings at an emotional and biological level. Armed with a deep desire to understand humanity, my goal is to create work that fosters positive change and has significant impact in the world. My past and present research has been focused on human emotions, the intuitive creative process and the relationship between technology and establishing social identity.

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Cet écrit sur mon projet de recherche création implique ma pratique en arts visuels, plus spécifiquement la peinture transitant par l'image photographique. Il questionne les répercussions sur les plans sémantiques et formels de l'utilisation d'une image référentielle en peinture ou, plus précisément, les différents enjeux de la représentation d'une image photographique en peinture (émotionnels, temporels et visuels), de l'étape de la prise de vue photographique jusqu'à son interprétation. Mes tableaux émergeant de photographies issues de ma vie personnelle, des thèmes comme l'autobiographie, l' autoreprésentation et le rôle de la mémoire d'un moment vécu dans l' interprétation d'une image en peinture sont abordés. Ce travail vise à développer une réflexion pertinente sur la problématique de la représentation et de l' autobiographie en tant que pratique artistique dans la peinture. Il est une mise en théorie qui accompagne la production visuelle que j 'ai effectuée au cours de ma maîtrise en arts visuels

Dress is both an individual and a societal means of communication. Understanding the meaning of dress within a society, culture, and specific time period can aid researchers in understanding the social, political, and economic events and changes that take place in dress. The Scottish Highland dress differed in the 17th and early 18th centuries from that of the Scottish Lowlanders (i.e., people of Scotland below the Highlands) due to differences in culture and geography. Highland dress has been difficult to study because few extant garments exist before the 19th century and most of the records that exist deal with the upper class garments. The purpose of this research was to determine whether or not poetry (i.e., poems, ballads, and songs) could be used as a source of knowledge on historic dress in a social, political, or economic context, using the dress of Scottish Highlanders from 1603 through 1830 as an example, and to triangulate the findings with other sources that portray dress through the written word or visual image. This research cross-referenced the items of dress with social, political, and economic events that occurred in the lives of the Scottish and Highland people. The main source of documentation for this research was 3,501 Scottish poems written between 1603 and 1830 gathered from 18 anthologies and there were 394 poems with male dress references and 245 poems with female dress references, which was 18% of the poems. A large number (N=1531) of individual dress items were referenced within those poems. The poems were triangulated with 34 letters and 332 portraits from the same time period. The study of Highland dress in poetry expanded the knowledge base regarding specific items worn by males and females. The majority of the poems and dress references were found in the 18th century. The plaid and the kilt were the focus of poems related to war. The letters and portraits provided new information on dress, as well as providing support for the information gathered in the poems. Triangulation with the letters and portraits validated poetry as a source of Highland dress between 1603 and 1830. / Ph. D.

Ce texte porte sur les réflexions entourant ma création artistique. J’y aborde la création en assumant mon par-ti-pris pour la culture populaire et particulièrement pour les images qui en découlent. C’est dans un état d’esprit à la fois festif et nostalgique que j’utilise le brillant au centre de ma réflexion plastique. Il est non seu-lement une nouvellefaçon pour moi de considérer mon approche de la couleur par rapport à la lumière, mais il également porteur d’une charge émotive, symbolique et historique. La féminité et l’érotisme sont abordés dans ce texte en relation avec la création d’un corpus de portraits féminins érotiques.

Ce mémoire a pour objet l'étude d'un corpus de portraits d'enfants peints au Québec entre 1800 et 1860. Nous présentons d'abord un aperçu général du thème de 1'enfance tel qu'il s'est manifesté dans la peinture européenne et américaine dès le XVIe siècle. Cet aperçu est suivi d'une synthèse du contexte historique et artistique au sein duquel le portrait bourgeois s'est développé au Québec avec un examen de quelques-uns des premiers portraits d'enfants connus au Québec. Dans la deuxième partie, nous avons procédé à une étude stylistique et comparative du corpus à partir des différentes compositions que les artistes ont employées pour représenter l'enfant. Le corpus est divisé en deux catégories: les portraits de l'enfant en buste et ceux où l'enfant est représenté à 1'intérieur d'un groupe. Des comparaisons avec des portraits américains ont permis de dégager différentes similitudes mais aussi quelques éléments spécifiques propres au portrait d'enfant au Québec. / The object of this thesis is the study of a corpus of portraits of children painted in Quebec between 1800 and 1860. After introducing the theme of childhood in European and American painting since the sixteenth century, we go on in the first part to examine the historical and artistic context in which the bourgeois portrait developed in Quebec as well as some of the earliest known portraits of children in Quebec. In the second part, we have undertaken a stylistic and comparative study of the corpus, using as our starting point the compositional arrangements employed by the artists to represent children. This led us to divide the corpus into two main categories : bust-length portraits of the child and group portraits. Comparison with American portraits has permitted us to identify compositional similarities as well as characteristic elements that constitute what is specific to portraits of children in Quebec. / Montréal Trigonix inc. 2018

Les manières de dire et d’accomplir les identités confessionnelles dans l’Europe chrétienne de la première modernité investissent, à la fin du XVIe siècle, un genre icono-littéraire particulier : le recueil imprimé de portraits et de vies d’hommes illustres. Ce genre humaniste à la mode n’est pas seulement adopté et adapté par les auteurs protestants (comme Bèze, Reusner, Agricola ou Boissard) pour célébrer les vertus et éterniser la mémoire des premiers grands héros de la foi rénovée. Les recueils protestants d’Illustres inventent aussi une culture spécifique du souvenir, qui se veut détachée de l’hagiographie chrétienne traditionnelle et déconnectée du culte des saints comme du culte des images. Panthéons virtuels, musées de papier et temples de la mémoire, ces collections représentent et performent la fabrique de l’identité protestante à l’ère confessionnelle. En outre, la forme même de la collection, c’est-à-dire de la configuration et co-présentation visuelle des différents acteurs de la Réformation, qu’il s’agisse de Luther, Zwingli, Calvin, Bucer ou des autres « instruments de Dieu » ayant œuvré à la restauration de la «vraie doctrine», permet de proposer une représentation de l’unité protestante qui ne sacrifie en rien à la diversité des identités confessionnelles intra-protestante. / By the end of the 16th century, ways of uttering and conveying confessional identities in early modern Europe take hold of a specific genre : the collections of portraits and Lives of illustrious men. Based on both visual and literary rhetoric, these collections used by humanist authors to glorify the heroes of the past are also adopted by Protestants to celebrate the virtues and acts of the first great Reformers. Protestant collections commemorating the achievement of Luther, Zwingli, Calvin and other « instruments of God », invent a specific culture of remembering, which clearly intends to withdraw from the traditional Christian hagiography as well as the cult of images and saints. In fact, these printed temples of memory reflect and embody the very fabric of Protestant identity. Moreover, the form of the collection, that is to say the configuration and visual arrangement of distinct Protestant figures, enable to suggest a representation of Protestant Unity, that at the same time loses nothing of its confessional diversity.

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Nicolas Poussin's two Self-Portraits, painted in 1649 and 1650, have been the subject of countless art-historical investigations, but remain only incompletely understood. This study attempts to draw the meanings of the self-images into clearer focus. To this end, the relationships between Poussin and the eventual recipients of the two portraits, Jean Pointel and Paul Freart, Sieur de Chantelou, are examined more probingly and are positioned centrally in the analysis of the works. A careful exploration of the web of associations among the three men reveals that Poussin's caution in dealing with Chantelou, his often jealous and emotional patron, was a factor of great consequence to the development of the Self-Portraits. Bearing this in mind, both Poussin's letters and the scholarly accounts which accept his written statements at face value, may be approached with a more critical eye. This practice, in turn, leads to a broadened range of possibilities for the interpretation of the two Self-Portraits, and to a greater appreciation of the extent to which Poussin's creations were affected by human dynamics.

Orientador: Jorge Sidney Coli Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-23T18:26:49Z (GMT). No. of bitstreams: 1 Romao_Tameny_M.pdf: 2819609 bytes, checksum: bb0469262ece96cc0dfa8fde19884b03 (MD5) Previous issue date: 2013 / Resumo: Apresentamos neste trabalho uma compilação dos retratos do escritor Mário de Andrade, feitos desde seus primeiros anos de vida até a contemporaneidade. Estas imagens que acompanham por vezes a obra do polígrafo e estudos sobre ele exercem o papel de acrescentar sentidos a tais publicações. A pluralidade formal e substancial dos retratos justifica esta produção que direcionou com um olhar cuidadoso sobre eles, por nós, dividida em duas partes: catálogo e texto analítico. Nesta tarefa definimos três eixos principais, abordando a relação de Mário de Andrade com seus retratistas e com sua própria imagem, além de esclarecimentos técnicos sobre a reunião do material. É importante salientar que as duas seções estão interligadas, sendo o conteúdo textual uma extensão de especificidades das obras do catálogo, seleção guiada pelos resultados da pesquisa / Abstract: We present in this work a compilation of pictures of the writer Mário de Andrade, made from his early life up to contemporary times. These images, that sometimes accompany the work of the polygraph and studies about him, have the role to add senses to such publications. The formal and substantial plurality of the pictures justifies the production with a careful look at them that we divided into two parts: the analytical text and the catalogue. In this task we set out three main principles, approaching the Mário de Andrade's relationship with his portraitists and with his own image, in addition to technical clarification on the meeting of the material. It is important to stress that the two sections are connected, being the textual content specifics a catalog's works extension, selecting guided by search results / Mestrado / Historia da Arte / Mestra em História