Orientador: Roberto Berton de Angelo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:56:25Z (GMT). No. of bitstreams: 1 Almeida_AngelaPrada_D.pdf: 44209189 bytes, checksum: 325da0af7c1faf9daa34119e12a721ef (MD5) Previous issue date: 2011 / Resumo: Esta Tese de Doutorado tem como objetivo analisar obras do fotógrafo japonês Hiroshi Sugimoto. Na introdução, são analisadas cinco séries de fotografias do artista: Dioramas, Portraits, Architecture, Theaters e Seascapes. A seguir, discussões sobre as séries Dioramas e Portraits são aprofundadas. O ponto de partida para os capítulos são as considerações do próprio fotógrafo sobre as obras. Nas análises, paradigmas do discurso fotográfico e características próprias da fotografia inter-relacionam-se com particularidades da cultura japonesa. No capítulo "Dioramas", são abordados: a invenção dos Dioramas no século XIX, a construção dos Dioramas nos Museus de História Natural, visão monocular, perspectiva artificial e representação realista e, por fim, o superlativismo realista na fotografia do Diorama dos Gorilas e o congelamento do tempo nas fotografias dos Dioramas. Já no capítulo "Portraits", discussões sobre a relação entre realismo e fotografia são retomadas, a partir da fotografia de retratos de pessoas falecidas. O discurso de articulação do real que permeia a representação de retratos é realizado à luz da presentificação de sujeitos históricos - membros da monarquia inglesa e monjes japoneses. As séries Dioramas e Portraits são formadas por múltiplas instâncias de representação, com características de formação fotográficas. As fotografias e idéias imagéticas criadas por Sugimoto sugerem conceitos teóricos e suscitam análises sobre construções culturais: maneiras de conceber a visualidade que nos cerca, a partir do olhar do fotógrafo / Abstract: This doctorate thesis aims to analyze works of Japanese photographer Hiroshi Sugimoto. In the introduction five series of photographs of the artist: Dioramas, Portraits, Architecture, Seascapes and Theaters are analyzed. Discussions about the series: Dioramas and Portraits are deepened. The starting point in the chapters are the photographer's own words about the series. In the analysis, paradigms of photographic discourse and characteristics of photography inter-relate to the particularities of Japanese culture. In the chapter "Diorama", the following topics are discussed: the invention of the Diorama in the nineteenth century, the construction of the Dioramas in the Museum of Natural History, monocular vision, artificial perspective, realistic representation, and finally, the superlative realistic representation of the Gorilla Diorama and the act of freezing time in the photographs of Dioramas. In the "Portraits" chapter, discussions about realism and photography are analysed in interrelation to portrait photography of deceased people. The sensation of reality that pervades the representation of portraits is examined in the light of materialization of historical figures - members of the English monarchy and Japanese monks. The Dioramas and Portraits series are composed of multiple representational instances, based on photographic formation characteristics. The photographs and imagery made by Sugimoto suggest theoretical concepts and raise photographic analysis of cultural constructions, ways of conceiving the visual world that surrounds us, from the view point of the photographer / Doutorado / Multimeios / Doutora em Multimeios

Denna uppsats är en komparativ studie där kvinnoporträtt av konstnärerna Lena Cronqvist, Cecilia Edefalk och Sara-Vide Ericson analyseras semiotiskt. Analyserna sker ur ett genusperspektiv i syfte att studera hur de olika konstnärerna avbildar kvinnor och vad som är utmärkande för deras gestaltningar. Urval har skett avseende två verk föreställande kvinnor av respektive konstnär. Efter analyserna sker jämförelser av kvinnobilderna rörande likheter och skillnader. / This essay is a comparative study and a semiotic analysis of female portraits from the artists Lena Cronqvist, Cecilia Edefalk and Sara-Vide Ericson. The analysis are made from at gender perspective in the purpose to study the artists way to depict women and the artists characteristic in these pictures. Two female portraits from each artist has been chosen for the study. After analysis follows comparison concerning similarities and differences.

During recent years the Canadian political scene has suffered from a dearth of colour. Indeed, it has almost been forgotten how politically influential and successful a colourful figure can be. This thesis constitutes in part a reminder of this fact. Here is the story of the most popular premier in the history of the province of British Columbia, Richard McBride, the man who came to his high office at the age of thirty-two (the youngest premier in our history), and stayed in power over twelve years (the longest term of office in our history). He was the man who introduced party government to the province and thereby headed the first Conservative government in B.C. history. At the head of this government he directed provincial affairs during the greatest boom, bar the present one, to ever hit this province. At his last election he accomplished the remarkable success of sweeping from the Legislature every representative of the hitherto chief Opposition party, the Liberals. Forty Conservatives faced two Socialists. In federal affairs McBride became one of the leading figures in the Conservative party and, in 1911, Robert Borden's closest rival for the right to lead the Conservatives to victory in the Reciprocity Election. He thus came closer than any other West Coast politician to becoming Prime Minister of Canada. In imperial affairs he also achieved considerable prominence. He cut a striking figure in London and became personally acquainted with many important imperial figures such as Winston Churchill. It was as ambassador for his province that he found his most effective role. This man from New Westminster does on the above record bulk larger than any other figure in the history of local politics. Another purpose of this thesis is to discover to what extent McBride's ability and achievement made him worthy of this prestige. In chapter one, McBride's rise to power is described; from the early days in law in New Westminster, through his first political plunge (a failure), his first political success (in 1898), his first cabinet position (with Premier Dunsmuir in 1900), his resignation from that cabinet and leadership of the Opposition to the Dunsmuir and Prior governments, to his call to the premiership in June, 1905. Chapter two deals with his difficulties in forming and carrying out the decision to form a government along strict party lines. This decision was put to the test in the election of October, 1905. Chapter three tells of the governmental success in combating financial insolvency, a success resulting from a strict retrenchment policy which was the work of McBride's first rate Finance Minister, R.G. Tatlow, and aided to at least some small extent by the Premier's attempt to get Better Terms out of Ottawa (in other words an increased financial subsidy). McBride became more widely known through his role in the Better Terms fight, the climax of which was reached at Ottawa in October, 1906. Chapter four attempts to explain those railway entanglements, which the McBride government found impossible to avoid in the period 1903 to 1906, and to estimate the results these entanglements in terms of the 1907 election. Chapter five records a change in government policy, with the Premier acting more boldly on the basis of better times and a larger majority. A discussion of his trip to England in the interests of Better Terms, is followed by an appreciation of the significance of the 1907 cabinet changes, and of some of the policies affected by these changes. The chapter concludes with an account of the government's decision to guarantee the bonds of the Canadian Northern Railway Company in order to persuade that Company to build to the Pacific, and an analysis of the results of this decision, results which included two resignations and another election, in November, 1909. Chapter six deals with the peak of the boom and concomitantly the peak of Conservative success and popularity. The second phase of McBride's railway policy is described as is his electoral triumph in 1912. The Premier's activities in the federal field and in England are also discussed. All these activities show him at the zenith of his personal success in this period, Chapter seven deals with the depression and the decline in popularity suffered by the McBride government from 1913 to 1915. This decline takes place in three stages as the outbreak of war provides an imperialistic interlude, a hesitation before the final collapse. At the end of this chapter is an analysis of Sir Richard's decision to resign. Chapter eight is a short appreciation of McBride as a colourful figure whose very virtues as a man constituted his worst failings as a statesman. Nevertheless it is concluded that as a man of vision he had an important role in the development of the province. / Arts, Faculty of / History, Department of / Graduate

In this bachelor’s thesis I have studied portraits from the 18th century where the person portrayed is named and in the guise of an antique goddess. I have used a gender perspective through out the paper and have used Judith Butler´s ideas about gender performativity. I have also used Carolina Brown’s Liksom en herdinna. Litterära teman i svenska kvinnoporträtt under 1700-talet and Anna Lena Lindberg’s En mamsell i akademien – Ulrica Fredrica Pasch och 1700-talets konstvärld which both has a gender perspective when they examine portraits and the art world during the 18th century. I have used iconological and iconographical analyses to study what it means to be portrayed as an antique goddess, what the portraits communicate and how they create gender identities. I have also done literature studies to understand and explain the society that created the portraits I’m analysing. My study has shown that it was more common for women to be portrayed as antique goddesses than it was for men to be portrayed as antique gods, and that class was more important than gender but that gender performativity still had an important role.

The first half of the 19th century is considered the Golden Age of Danish art. It was a period with economic problems for the country and for many people. As a result new values and ideals became important with emphasis on family and work. The middle classes gained more influence and also became more interested in art. The period was not called a golden age until the end of the century, when the artistic value of the works was more recognized. Nowadays Golden Age portraits and landscape paintings are especially admired.  In this essay I have investigated three family portraits painted 1829-1830 in order to find out who the sitters were, how they were depicted and in what settings. In my view the portraits tell stories of the sitters and the way families adhered to the ideals of family life and diligence. There was a division between male and female spheres and also between private and public parts of family life. As a result he family portraits do not only show what the persons and their homes looked like, the contents of the painting becomes a story presenting them to viewers, although, perhaps, in an idealized version of reality.

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The aim of this master’s thesis is to examine portraits of married couples from the Italian Renaissance. It is a study of how, and why, men and women are portrayed differently even though they are married to each other and painted by the same artist.The chosen portraits that will be examined and analyzed are:  Federico da Montefeltro and Battista Sforza by Piero della Francesca, Francesco Maria della Rovere and Eleonora Gonzaga della Rovere by Titian, Febo da Brescia and Laura da Pola by Lotto,Cosimo I de’ Medici and Eleonora Toledo Medici by Bronzino.  A historical theoretical perspective is used throughout with focus on Michael Baxandall’s theories of how visual identity was shaped by the society they were created in. How did they experience the paintings and is it different from how we see them today?Previous research has shown that the significance of many details in Renaissance portraits have become unknown for the modern viewer. This master’s thesis expresses that to unlock the entire meaning of Renaissance portraits, the viewer needs to acquire a considerable amount of information regarding the context the paintings were created in since we do not have the same cultural references today as the viewers of the artwork did during the Renaissance.  My analysis shows that when placing these portrait pairs in their socio-historical context it is possible to gather information hidden in the details and therefor understand the paintings more completely. The underlying meaning of fashion, jewelry, poses and gestures become evident when we study the portraits with the same perspective as during the Italian Renaissance.  By visually reuniting these pairs in art and marriage, it is possible to see the similarities in how they chose to portray themselves. The historical perspective gives clues as to why they have chosen all the details.

For my thesis project, I displayed fifteen printed photographs of self-portraits that I have made outside of class. In these self-portraits, I have applied special effects makeup to my face to create different portrayals of myself. These range from more abstracted makeup to characters. The majority of these makeups are from the chest up and created with face paint and self-made prosthetics. In this imagery, I have also chosen accessories and the background to coincide with the makeup and the mood that I am conveying. Minor adjustments have been made digitally in order to enhance how the image comes across. For example, I have upped the contrast and dimmed the exposure, etc. I have taken most of my own photographs on my phone or Canon Rebel Xi camera while there are a few that a family member has taken for me. I printed these portraits at a larger than life scale and I chose to display them at a place that has become close to home, O’mainnin’s Pub and Grill. This pub is where I held my show. My art was displayed in the casual environment with loud music and dim colorful lights. The exhibit stayed up for three days and was available to the public. Alongside my photographs, I also chose a handful of traditional hand-drawn classwork to display as well. This work is very similar in theme and compliments the self-portraits. Below are images of the show!