No description available.

No description available.

Peintre d’histoire actif dès le début de la Restauration jusqu’au Second Empire, membre de l’Académie des beaux-arts et officier de la Légion d’honneur, Auguste Couder représente parfaitement toute une génération d’artistes reconnus de leur vivant, mais oubliés par la suite. Méconnue de nos jours, son œuvre, riche et variée, mérite pourtant d’être redécouverte. Elève fidèle de David, fortement marqué par l’enseignement de son maître, Couder se distingua en tant qu’un excellent dessinateur qui ne négligeait pas pour autant la couleur. Sollicité pour de nombreuses commandes officielles et privées, il réalisa un grand nombre d’œuvres inspirées tantôt de l’histoire – aussi bien antique que nationale, tantôt de la religion ou de la littérature. Peintre prolifique, exposant régulièrement aux Salons des années 1814-1848, il participa également à plusieurs travaux de décoration d’édifices civils et religieux. Pourtant, jusqu’à présent, sa création ne fit l’objet d’aucune étude. Cette thèse a pour objectif de combler cette lacune, en retraçant la carrière de Couder d’une part, et en établissant le premier catalogue raisonné de son œuvre, d’autre part. Comprenant près de 400 peintures et dessins, dont plusieurs sont inédits, ce catalogue met en évidence la richesse de la création artistique de Couder laquelle retrouve ainsi sa place dans l’histoire de la peinture du XIXe siècle. / Auguste Couder, a historical painter active from the outset of the French Restauration to the Second Empire, a member of the Académie des beaux-arts (Academy of Fine Arts) and an Officer of the Legion of Honour, is a true representative of a whole generation of painters who were recognised as such during their lifetime but forgotten afterwards. Little known today, his works, abundant and varied, well deserve to be rediscovered. As a loyal student of David whose teaching greatly influenced him, Couder stood out as an excellent drawer but was nevertheless much interested in colours. He was commissioned numerous orders, from official and private sources, for paintings of a historical nature – both ancient and national – and inspired by religion and literature. A prolific artist, he participated regularly in the Salon held between 1814 and 1848 ; he also took part in several decorative works for official and religious edifices. Yet, his works have never been the subject of any study. The object of the present thesis is to remedy this situation by reviewing his whole career as well as drawing up, for the first time, a full descriptive catalogue of his works. This catalogue, which comprises some 400 paintings and drawings – several of which are unpublished, highlights the rich creation of Couder, reinstating him in the history of the 19th century arts.

This diploma thesis presents compiled and edited collection of letters from the czech landscape painter František Kaván (1866-1941), a scholar of Julius Mařák's painting school, to the publisher and gallerist František Topič (1858-1941), the painter Oldřich Blažíček (1887-1953) and the librarian and bibliographer Ladislav Jan Živný (1872-1949). The edition is based on 104 letters kept in the Museum of Czech Literature in Prague and the Archives of the National Gallery in Prague. The correspondence describes a life of the painter from the year 1894 to 1941. The diploma thesis analyses and comments approachable literature and deals with relevant sources of material. Editorial comment summarizes principles and methods applied in this thesis, one part is dedicated to the editor Svatopluk Klír. The main parts are chapters based on commentary of selected passages of 104 edited documents with further relevant information in the apparatus. Fulltext edition of mentioned documents is a part of the appendix. A part of the thesis are indices and list of sources and literature. This edition of Kaván's letters from 19th to second part of 20th century reflects till now uncompiled sources and throug them give as a new insight into life and work the significant czech landscape painter and his three friends who...

Cette thèse de doctorat se propose d’étudier les Salons sous l’ère napoléonienne, connus surtout pour le rôle important qu’ils jouèrent dans le cadre de l’instrumentalisation politique de l’art contemporain. Ainsi, après 1799, le Salon devint rapidement un important outil de la vaste politique culturelle du Consulat et de l’Empire, qui servit à représenter de manière symbolique le système politique. Face à ce changement radical du Salon et de sa politique artistique, les artistes, eux aussi, ont dû se positionner et s’adapter aux nouvelles structures politiques et administratives, tout en réagissant aux nouvelles tendances artistiques et à l’évolution du milieu artistique, afin de s’imposer au Salon. Le succès rencontré par les Salons en ces années-là ne se manifeste pas seulement par le chiffre croissant des exposants et des visiteurs : les diverses formes de la réception du Salon – journaux, brochures, récits de voyage, lettres et œuvres graphiques - témoignent également de l’écho rencontré par l’exposition, et ceci bien au-delà des frontières nationales. Jouxtant les salles du fameux Musée Napoléon qui regroupe les chefs-d’œuvre artistiques les plus importants, saisis par les armées françaises dans des collections de l’Europe, le Salon profite de la forte fréquentation du Louvre entre 1800 et 1815, de la part de visiteurs aussi bien français qu’étrangers. L’objectif de cette thèse est d’analyser l’organisation de l’exposition, le paysage des artistes exposants ainsi que l’écho rencontré par cet évènement sur la scène internationale en tenant compte de cette mutation complexe de la vie artistique parisienne au début du XIXème siècle. Dans cette perspective, le présent travail s’interroge sur les rapports entre la politique artistique, les pratiques artistiques et culturelles ainsi que leur réception. / This doctoral thesis examines the Salons of living artists under the reign of Napoleon I, which are primarily known for the prominent role they played in the context of cultural politics of that time. After 1799, the Salon rapidly became an important instrument of art and cultural politics used by the ruling government to symbolically legitimise and support the political system. Given the major changes to the exhibition in these years, artists had also had to adapt to the new political and administrative structures whilst, at the same time, reacting to new artistic trends in order to stand up to the strong competition at the Salon. The exhibition's success in these years is not only reflected by the rising numbers of exhibiting artists and visitors. Also its wide-ranging coverage in the media, such as newspaper articles, letters, travelogues and graphic anthologies, is further proof of the exhibition's relevance and reach, sometimes even beyond national frontiers. Indeed, the exhibition's close locality to the famous Musée Napoléon, with its large collection of master pieces confiscated from European collections by the French armies, added further attention paid by European travellers to the Salon and the French contemporary art on display there. The aim of this doctoral thesis is to analyse the organisation of the exhibition, the range of participating artists as well as the international response it created whilst taking into consideration the complex transformation of art and the French art scene at the beginning of 19th century. By doing so, the dissertation focuses on the reciprocal relationship between art politics, artistic production and their reception.

Fils d’un facteur de piano, Pierre Joseph Guillaume Zimmerman (1785-1853), virtuose, pédagogue, compositeur et homme du monde, trouve sa place au sein d’une pléiade de promoteurs du piano et de la littérature pianistique. Son originalité réside dans la dualité que l’on distingue entre, d’une part, sa conscience de compositeur académique héritée de Cherubini et, d’autre part, cet esprit novateur que lui inspira la modernisation de la facture instrumentale dont il suivit et entérina l’évolution. Cette thèse se veut la première monographie qui envisage les activités nombreuses et variées dans lesquelles le musicien s’illustra aux différentes époques de sa vie. La première partie traite de ses origines et de l’époque d’avant 1831. Nous nous intéressons à ses études au Conservatoire, à sa première carrière pédagogique, à ses mariages, à ses œuvres classiques pianistiques (la Sonate op. 5 et les deux concertos) et à ses deux opéras. La deuxième partie porte sur la période de 1831 à 1845. Nous parlons des lauréats sortis de sa classe qui se multiplient à l’époque, de sa méthode Encyclopédie du pianiste compositeur qui favorise le genre des études, ainsi que des soirées musicales qu’il organise dans son appartement du Square d’Orléans. La troisième partie étudie la période post-Cherubini, de 1842 à 1853. Nous y abordons sa contribution à l’organisation de l’Association des artistes musiciens, ses deux messes, ses dernières années comme professeur au Conservatoire, ainsi que l’époque postérieure à sa retraite en 1848. Le second volume d’annexes complète cette étude en présentant un arbre généalogique, les portraits et les états civils des Zimmerman, ses lettres et d’autres documents. / Born as the eldest son of a piano manufacturer, Pierre Joseph Guillaume Zimmerman (1785-1853) was one of the piano promoters in the first half of the nineteenth century, this can clearly be seen from his activities as a piano virtuoso, educator, composer and socialite. His unique role consisted of his dual occupation as a successor to Cherubini in academic composition, and also his role as a passionate supporter of the modernization of the piano. This thesis is a monographic study of Zimmermann, and explores the multiple aspects of the activities in which the musician became famous for in different periods of his life. In the first part, I discuss his origins and his life before 1831. I discuss his studies at the Conservatoire, his first pedagogical contributions, his marriages, his classical piano works (Sonata op.5 and two concertos) and two operas. The second part covers the period from 1831 to 1842. I consider the increase in the number of students from his class who became winners of the annual piano competition, his method Encyclopédie du pianiste compositeur – which favours the études as a genre – and the salon concerts that he organized at his apartment in the Square d’Orléans. The third and final part relates to the post-Cherubini period from 1842 to 1853 in which I focus on his contribution to the organization of the Association des artistes musiciens, his two masses, his last years as a professor of Conservatoire, and the life after his retirement in 1848. The information provided in the second volume of annexes also highly complement this study by presenting a family tree, his portraits, civil registers of the Zimmermans, his letters and the other documents.

The goal of the diploma thesis is to design a wine hotel for 30 people with other public spaces with quality accommodation corresponding to the level of four stars in Mikulov. The new building of the Wine House is a three-storey building located in a sloping terrain, which consists of three floors above ground and one underground floor. The wine house will provide Nikolsburg Winery as a representative building. Visitors and guests of the hotel can enjoy a glass of wine on the terrace of the proposed building and at the same time wonderful views of the vineyards and the silhouette of Mikulov, relax in the surrounding picturesque landscape, or visit the nearby center of Mikulov, Pálava hills or take a boat ride on the surface of reservoirs called Novomlýnské nádrže. Accommodated guests will have the opportunity to use the wellness, massage and Finnish sauna. Tourists passing by will have the opportunity to taste good food and visit the wine lounge, where they can taste and buy locally produced wine at the same time.

The goal of the diploma thesis is to design a wine hotel for 30 people with other public spaces with quality accommodation corresponding to the level of four stars in Mikulov. The new building of the Wine House is a three-storey building located in a sloping terrain, which consists of three floors above ground and one underground floor. The wine house will provide Nikolsburg Winery as a representative building. Visitors and guests of the hotel can enjoy a glass of wine on the terrace of the proposed building and at the same time wonderful views of the vineyards and the silhouette of Mikulov, relax in the surrounding picturesque landscape, or visit the nearby center of Mikulov, Pálava hills or take a boat ride on the surface of reservoirs called Novomlýnské nádrže. Accommodated guests will have the opportunity to use the wellness, massage and Finnish sauna. Tourists passing by will have the opportunity to taste good food and visit the wine lounge, where they can taste and buy locally produced wine at the same time.

The subject of this diploma thesis is the new apartment house with business premises in the Riegrova street in Svitavy. The apartment house is located on flat land in the built-up area near the town centre. The building does not have a basement and has four floors. On the first floor there are a beauty and massage salon, a newsagent, a shoe shop, a maternal centre, entrances to the residential part and storage spaces belonging to the housing units. On the second, the third and the fourth floors there are housing units of different categories. The car park is situated outside the building. The building is made from constructional system Porotherm, the roof of the building is flat. The facade is designed with an external thermal insulation composite system. Drawings are processed in ArchiCAD 14.

Écrivain de la première moitié du XVIIe siècle, Le Père Jacques Du Bosc est principalement connu par sa position favorable aux dames et pour sa polémique contre les jansénistes. Sous la protection de Richelieu, Du Bosc rédige, comme Faret et Grenaille, des œuvres concernant l’honnêteté afin d’établir des relations nouvelles entre les individus, à la Cour comme à la Ville. La question de l’honnêteté préoccupe beaucoup l’esprit du XVIIe siècle. Au cours du temps, la société cherche à connaître le « juste milieu » afin de s’approcher de cette qualité mondaine. Dans ce cadre, Du Bosc fut parmi les premiers à proposer un manuel destiné à enseigner aux deux sexes les moyens de parvenir au monde de l’honnêteté.Ce projet se propose d’étudier le contexte historique de l’écriture de Du Bosc, ses positions vis-à-vis de l’honnêteté, et surtout ce que signifie pour lui une honnête femme. Quelles sont les qualités appréciées et quels sont les critères nécessaires pour entrer dans le commerce du monde ? Cette étude vise également à découvrir la culture dont le cordelier est imprégné. Le travail d’annotation nous permet de connaître les sources où il puise pour illustrer son ouvrage.Ce projet vise également à découvrir la vie de Du Bosc, et l’influence de son statut religieux sur l’ensemble de ses ouvrages, et notamment sur L’Honneste femme. Pour cet homme, nourri de l’enseignement de saint François de Sales, quels sont les principes pour « accommoder » la vie dévote à la société mondaine ? Y a-t-il un rapport avec sa position anti-janséniste ?Enfin, l’édition critique rendra compte de l’évolution du texte maintes fois réédité au cours du XVIIe siècle : seront envisagées les différentes étapes de la rédaction et la question des privilèges, puis les textes des premières publications seront confrontés à l’édition corrigée de 1658. / At the dawn of the French Renaissance, under Italian influence, Francis I of France creates a brilliant court life by transforming the Louvre palace and relying on the fascination of artistic works to give his courtiers an impressive image of his power. In the late sixteenth and early seventeenth century, France continues to refine the culture of her court : progressively, elegant and refined courtiers replace those warriors in old time, valorous for sure, but rough and coarse. The author presented here, Jacques Du Bosc, is a writer of the first half of the seventeenth century. His work, L’Honneste Femme aims to teach women how to behave in a society that attaches so much importance to the art of pleasing, and show them that such a behavior is not inconsistent with Christian life. A religious person of the Cordeliers Franciscan, he is known for his innovative visions for female education, and for his polemical writings against Jansenism. On female education, different from the humanist pedagogue Juan-Luis Vives, who applied concrete precepts to guide women’s behaviors in their daily life, Du Bosc would rather help them reflect and distinguish between good and evil by highlighting his stories of virtuous speech, usually drawn from mythology and antiquity. He is convinced that women, like men, can also consciously lead a virtuous life. Although this work is dedicated to women, the advice it contains could often concern both male and female Christians. Reprinted more than twenty times between 1632 and 1665, L’Honneste Femme can be considered as a bestseller of the salon literature in the seventeenth century. Besides, entering a Franciscan monastery at an early age, Du Bosc left his clerical position during the years of 1630-1640 for some unknown reasons. We could suggest that his life in the world has influenced him deeply when it comes to the practice of Christian life in society. Despite his clerical position, Du Bosc believes that “there is nothing more important than knowing the Art of Pleasing” to succeed in the world. This belief is conspicuous in the first two parts of his L’Honneste Femme, often akin to salon literature. Although Du Bosc relies on Christian teaching for his female education in the third part, his readers areelites in the society who are passionate about the salon culture. Written with Court and salon as a background, L’Honneste Femme proposed to teach Christians - and first Christian women - how to behave in a society where authority was pervasive, and the priority was to take others’ opinion into consideration. Such education may seem far from the concerns of the twenty-first century readers. Yet L’Honneste Femme can still serve as a reflective document guiding us to find the way which allows us to be successful in the society while remaining virtuous and to know the art of pleasing while staying sincere.