[ES] Esta tesis doctoral tiene por objetivo general expandir la escultura quiteña (de la ciudad de Quito), normalmente supeditada a convencionalismos sociales ampliamente difundidos y al conservadurismo académico local, ambos mayormente centrados en la noción de monumento. Para ello se ha desarrollado un proceso investigativo y creativo en bucle, definido en los objetivos específicos programados, a partir de los fundamentos teóricos, históricos, técnicos y tecnológicos de la escultura cinética, incluyendo la mención de sus principales practicantes, extranjeros y locales; así como de los conceptos de mediación, juego y público, y los recursos relacionados a estos, aplicados y aplicables a la escultura. De allí se ha establecido un método creativo para el diseño de las obras cinéticas propuestas. Método que se alimenta tanto del campo específico del arte como de otras disciplinas estudiadas; y que posibilita la creación de obras escultóricas cinéticas en acero estructural, sistematizando y documentando su proceso creativo. Finalmente, se ha evaluado la interactividad generada entre las esculturas realizadas y el público de las mismas. Con todo ello, cual objetivo superior, esta investigación-creación aspira a contribuir al campo del arte local proporcionando nuevas perspectivas y prácticas escultóricas mediante la inserción, cual intervención social en la esfera académica quiteña, de la escultura cinética corporal y semánticamente interactiva. / [CA] Aquesta tesi doctoral té per objectiu general expandir l'escultura quiteña, normalment supeditada a convencionalismes socials ámpliament difosos i al conservadorisme acadèmic local, tots dos majorment centrats en la noció de monument. Per a això s'ha desenvolupat un proce's d'investigació i creatiu en bucle, definit en els objectius específics programats, a partir dels fonaments teòrics, històrics, tècnics i tecnològics de l'escultura cinètica, incloent-hi l'esment dels seus principals practicants, estrangers i locals; així com dels conceptes de mediació, joc i públic, i els recursos relacionats a aquests, aplicats i aplicables a l'escultura. D'alli' s'ha establert un métode creatiu per al disseny de les obres cinètiques proposades. Mètode que s'alimenta tant del camp específic de l'art com d'altres disciplines estudiades; i que possibilita la creació d'obres escultòriques cine¿tiques en acer estructural, sistematitzant i documentant el seu procés creatiu. Finalment, s'ha avaluat la interactivitat generada entre les escultures realitzades i el públic d'aquestes. Amb tot això, com a propòsit superior, aquesta recerca-creació aspira a contribuir al camp de l'art local proporcionant noves perspectives i pràctiques escultòriques mitjancant la inserció, com intervenció social en l'esfera acadèmica quiteña, de l'escultura cinètica corporal i semànticament interactiva. / [EN] The general objective of this doctoral thesis is to expand the sculpture in Quito, normally conditioned by widely diffused social conventions and local academic conservatism, both mostly centered on the notion of monument. For this, a looping investigative and creative process has been developed, defined in the specific programmed objectives, based on the theoretical, historical, technical and technological foundations of kinetic sculpture, including the mention of its main practitioners, foreign and local; as well as the concepts of mediation, game and public, and the resources related to these, applied and applicable to sculpture. From there, a creative method has been established for the design of the proposed kinetic artworks. Method that feeds both on the specific field of art and on other studied disciplines; and that enables the creation of kinetic sculptural works in structural steel, systematizing and documenting their creative process. Finally, the interactivity generated between the sculptures and their public has been evaluated. With all this, as a higher objective, this research-creation aspires to contribute to the field of local art by providing new perspectives and sculptural practices through the insertion, as a social intervention in the Quito academic sphere, of kinetic and semantically interactive corporal sculpture. / García Moreno, MF. (2023). Escultura cinética en acero estructural. El movimiento como agente mediador entre obra de arte y espectador. Caso Quito-Ecuador [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/192893

Die extensive Zunahme von lebendigem Wachstum am Beispiel der mathematischen Fibonacci-Folge ergibt räumliche Strukturen von eigentümlichen Stülpungen und Auffaltungen, die den universellen Gesetzmäßigkeiten des Kosmos gehorchen. Solche mathematisch-abstrakten Ideen wollte ich dreidimensional in Skulpturen umsetzen und versuchte erst vergeblich, mir die daraus enstehenden räumlichen Körper rein imaginär vorzustellen und zeichnerisch oder klassisch skulptural umzusetzen – doch erst als mir die Idee kam, entlang dieser Gesetzmäßigkeiten zu häkeln, gelang es.

Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-09-19T12:06:00Z No. of bitstreams: 1 fabricioteixeiraviana.pdf: 11504803 bytes, checksum: 4273559783077d0a1ac66eb383f5f19d (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-09-22T15:02:02Z (GMT) No. of bitstreams: 1 fabricioteixeiraviana.pdf: 11504803 bytes, checksum: 4273559783077d0a1ac66eb383f5f19d (MD5) / Made available in DSpace on 2017-09-22T15:02:02Z (GMT). No. of bitstreams: 1 fabricioteixeiraviana.pdf: 11504803 bytes, checksum: 4273559783077d0a1ac66eb383f5f19d (MD5) Previous issue date: 2017-04-25 / As cidades contemporâneas vêm sofrendo grandes transformações, tanto urbanas quanto sociais, que incentivam o estudo da história urbana desses ambientes construídos. Nesse sentido, parte-se do pressuposto que a arte pública, entendida como representante da imaginária urbana, pode revelar conteúdos simbólicos sobre determinado espaço público. Dessa forma, esse estudo visa entender os desígnios da imaginária urbana de três objetos urbanos em Juiz de Fora, Minas Gerais, Brasil: o monumento ao Cristo Redentor, no Morro do Imperador; o Marco do Centenário de Juiz de Fora, na praça Pantaleone Arcuri; e a escultura contemporânea denominada “Releitura de Abaporu”, na praça Antônio Carlos. Obtêm-se, com isso, três recortes temporais da produção de arte pública na cidade, respectivamente os anos de 1906, 1951 e 2015. A metodologia utilizada busca analisar esses elementos como representantes da imaginária urbana de cada um desses tempos assinalados, além da trajetória de intervenções nesses lugares através das ações dos diversos agentes sociais envolvidos nestes processos de transformações urbanas. Assim, pretende-se demonstrar que esses objetos são sintetizadores da paisagem e revelam conteúdos da memória social e história urbana de Juiz de Fora. / Contemporary cities have undergone major transformations, both urban and social, that encourage the study of the urban history of these built environments. In this sense, based on the assumption that public art, here understood as a representative of the urban imaginary, can reveal the symbolic contents about a certain public space. Therefore, this study aims to understand the intentions of the urban imaginary in three urban objects of Juiz de Fora, Minas Gerais-Brazil: the monument to Christ the Redeemer, in the Emperor’s Hill; The landmark of the Centenary of Juiz de Fora, in the Pantaleone Arcuri square; and the contemporary sculpture called "Releitura de Abaporu", in the Antonio Carlos square. In this way, we obtain three temporal cuts of the public art production in the city, respectively in the years 1906, 1951 and 2015. The methodology used seeks to analyze these elements as representatives of the signed times, as well as the trajectory of interventions in these places through the actions of the various social agents involved in these processes of urban transformation. Thus, the intention is to demonstrate that these objects are synthesizers of the landscape and reveal contents of the social memory and urban history of Juiz de Fora.

[pt] A artista suíça-brasileira Mira Schendel (Zurique 1919 – São Paulo 1988) chegou ao Brasil no pós-guerra, em 1949, e aqui começou a pintar. A um raciocínio visual rigoroso acrescentou potência imaginativa e desenvolveu uma poética da formalização abstrata. Embora mantivesse vínculos inegáveis com os demais movimentos artísticos da segunda metade do século XX, criou uma linguagem plástica própria. O objetivo desta dissertação é investigar as escolhas formais e as preocupações expressivas de Mira Schendel a partir de um número limitado, porém representativo, de trabalhos, buscando apreender a singularidade das questões artísticas e plásticas implícitas nessas obras particulares. / [en] The swiss-brazilian artist Mira Schendel (Zurich 1919 – São Paulo 1988) arrived in Brazil in the postwar period, in 1949, and here she started to paint. To a rigorous visual reasoning she added a fertile imagination and developed an abstract formalization language. Although the undeniable bonds of her work with the diferent artistic movements of the twentieth century, the artist created a plastic language of her own. My intention is to investigate Mira Schendel s formal choices and expressive concerns present in a limited, however representative, number of works, searching to apprehend the singularity of these artistic and plastic questions implicit in these particular works.

Denna uppsats fokuserar på Haparandas historiska identitet genom att analysera 14 av stadens offentliga skulpturer. Syftet är att presentera en representativ bild av de offentliga skulpturerna och att analysera dess historiska koppling till Haparanda stad. Berättelsen kontrasteras mot en urban syn av Haparandas arkitektur. Det första kapitlet tar upp frågan om makten och identitetsbildningen. Det andra kapitlet diskuterar skulpturernas roll i en viss miljö. I det avslutande tredje kapitlet diskuteras skulpturerna i relation till Haparanda stads historia.  Slutsatsen av min avhandling tyder på att skulpturerna är väl kopplade till Haparandas historia och dess nära relation till tvillingstaden Torneå (Finland). Det är en historia som har en nära koppling till Finlands historia. / This thesis focus on Haparanda's historical identity by analyzing 14 public sculptures in Haparanda. The aim is to present a representative picture of the public sculptures and to analyse its historical connection to Haparanda in realtion to a urban view of Haparanda's architecture. The first chapter adresses the question of power and identity formation. The second chapter discusses the role of sculptures in the collective view of a particular environment. In the concluding third chapter the sculptures are discussed in relation to the history of the city of Haparanda. The conclustion of my thesis suggests that the sculptures are well connected to the history of Haparanda and its close relation to the twin city of Torneå (Finland). It is a story closely connected to Finlands history.

Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-04-16Bitstream added on 2014-06-13T19:27:55Z : No. of bitstreams: 1 cabanaspedro_cc_me_ia.pdf: 5295856 bytes, checksum: a8c9a5039b8aa9967830938958a1f32a (MD5) / Universidade Estadual Paulista (UNESP) / O presente trabalho concentra-se no estudo de um conjunto específico de obras da artista Niki de Saint Phalle, analisados sob o viés da arquitetura espontânea. Esse termo, bastante, desconhecido, é empregado para definir obras quer, pela sua escala e forma podem ser compreendidas como construções arquitetônicas diferenciadas, produzidas por “não-arquitetos”. Essa produção é geralmente associada à produção de artistas outsiders , aproximando-se mais da arte e da fantasia. Essas construções vão surgindo gradualmente na obra do artista Niki de Saint Phalle, que são destacadas uma a uma nesta investigação. Para maior embasamento foi feito o levantamento de de outras manifestações da arquitetura espontânea, compreendendo o trabalho construtivo de artistas e arquitetos espontâneos. Esses esforços criativos podem ser encontrados em várias partes do mundo, principalmente na Europa e América. A segunda parte da dissertação é dedicada inteiramente ao Jardim de Tarô, parque de esculturas projetado e construído por Niki, na Toscana, Itália. O jardim recebeu a influência do Park Guell do arquiteto Gaudi e é construido por esculturas monumentais que representam as cartas do tarô. A escolha do foco da segunda parte da dissertação neste jardim justifica-se por ele concentrar a maior quantidade de exemplos da arquitetura e espontânea na obra da artista. / The present work is concentrated on the study of a set specify of works of the artist Niki de Saint Phalle, analised under the slant of the spontaneous architecture. This term quite unknown, is employed in order that define works that , by the scale and form there can be understood how differential architectural constructions produced by non-architets This producation is generally associate to the outsider's artist production bringing near more near more than the art and the fantasy. These constructions are appearing gradually in the work of the artist Niki de Saint Phalle, that I detach one to one in this investigation. For bigger foundation, I do the lifting of other demonstrations of the spontaneous architecture, understanding the constructive work of these artists and spontaneous architects. These creative efforts can be found in several parts of the world, mainly in Europe and America. The second part of the work is dedicated completely to the Tarot Garden, park of sculptures projected and built bu Niki, in Tuscay, Italy. The garden received great influence of the Park Guell of the architect Gaudi, and it is constituted by monumental sculputures represented by letters of the tarot. I chose to focus the second part of the dissertation on this garden because it concentrats the biggest quantity of examples of the spontaneous architecture in the work of the artist.

This Master Thesis "The animals in the cathedral. Architectural sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography" looks into the architectural sculpture of animal's motifs and motifs of fantastical Creatures. The goal of this work is to summarize recent aspects of research about this theme, explain in more detail individually motifs of animal's and their Iconography and their meaning for Cathedral of St. Vitus. Also this thesis want to explain how could this special animal's motifs fit into the places, where are they have been situated. Their Iconography is taken with larger perspective, by literature's reception from antique over czech medieval age. Concerning animals and fantastic Creatures in the southern vestibule - pelican and phoenix; an owl in the Crown Chamber; gryphon and fight between cat and dog in the inner triforium; an eagle, an unicorn, a horse with bird's legs, a phoenix, a pelican, a stag, a lion, a gryphon, a lioness, a bear, a "cat" and three chimera in the outer triforium; a lion, a dog, a dragon and an eagle in buttresses and at least a dragon and a goat on the Big Tower. Keywords Cathedral st. Vitus, animal's motifs, symbols, iconography, architektonical sculpture, sculptures, console, relief, gothic...

Cette thèse est une étude du mouvement Cobra à travers les œuvres collectives, une de ses composantes caractéristiques. Il s’agit tout d’abord de comprendre le mouvement, ses origines et influences, ainsi que sa visée d’un art libre, ouvert, expérimental, partie prenante de la vie. Dans un contexte social d’après-guerre, souvent politisé, Cobra défend l’action collective, définie notamment dans les notions d’antispécialisme et d’interspécialisme. Il convient de mettre en exergue les origines de cette pratique, et saisir les divers aspects qu’elle arbore, notamment au travers de revues, d’expositions ou de créations partagées. Le poète Christian Dotremont, animateur et âme de Cobra, favorise le travail de collaboration et contribue à son développement en stimulant les rencontres artistiques. Il se fait le passeur et le permanent "agitateur"» de cette notion. Les peintures-mots qu’il crée avec d’autres artistes participent à sa réflexion majeure sur l’écriture et la peinture. Ce lien interpelle quelques artistes belges comme Pierre Alechinsky, mais il passionne Christian Dotremont qui ne cesse de multiplier les expériences à ce propos, pour aboutir à ce qu’il nomme les logogrammes, remarquable fusion de la peinture et de la poésie, et aboutissement de toute une vie de recherche. <p>Ce travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.<p>This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Les États latins d’Orient ont vu la création d’une société en Terre sainte développant un art syncrétique au carrefour des mondes latin, byzantin et arabe. Outre l’architecture religieuse et militaire, les manuscrits sont également les témoignages d’une culture levantine aux multiples influences. L’étude des œuvres croisées nous a montré une très nette augmentation de la production de manuscrits après le séjour de Louis IX au Proche Orient, ainsi qu’un changement dans la nature même des textes copiés. Les manuscrits liturgiques sont ainsi délaissés au profit de la littérature historique, telle l’Histoire Ancienne jusqu’à César. À partir d’un texte venu de Flandre, les nobles francs de Terre sainte et les enlumineurs à leur service ont recréé un cycle de miniatures pour inscrire leurs images dans la tradition multiculturelle croisée. Des partis-pris artistiques ont ainsi été mis au jour et définis comme des choix conscients visant à personnaliser les copies levantines et les inscrire dans une tradition de près de deux siècles : l’emprunt à différentes traditions artistiques, occidentales et orientales, pour la création des miniatures, la mise en lumière de héros liés à la Terre sainte ou aux Francs, et parfois la figuration de leur environnement oriental. Ces processus de personnalisation des images, replacés dans le contexte de la vie culturelle de Saint Jean d’Acre de la fin du XIIIe siècle, nous amènent à dépasser la constatation de phénomènes d’acculturation à leur milieu oriental pour évoquer, de la part des nobles francs de Terre sainte, une volonté d’affirmer visiblement leur identité sociale collective et leur double culture, entre Orient et Occident. / The Crusader States have created a society in the Holy Land developing a syncretic art at the crossroads of Latin, Byzantine and Arabic worlds. In addition to religious and military architecture, manuscripts are also evidences of a cosmopolitan Levantine culture. The study of Crusader Art has shown that the painting of manuscripts was revived at Acre in the early 1250’s, after Louis XI’s stay in the Middle East. Secular manuscripts written mostly in Old French became popular, as well as new historical literature. The most popular examples were the Histoire d’Outremer by William of Tyre and the Histoire Ancienne jusqu’à César. This illustrated text was first composed in France for Roger de Lille and brought to the Crusader East in the mid-thirteenth century. Frankish aristocracy and crusader illuminators have created a cycle of miniatures in order to integrate their images in the cosmopolitan Crusader Art. Artistic choices have then come to light and been defined as conscious choices to offer works that represent the best of the Frankish culture of Acre and integrate them in an almost two centuries old artistic tradition : the borrowing from Western and Oriental artistic traditions in order to create their miniatures, the revelation of heroes linked to the Holy Land and the Franks, and sometimes the representation of their Oriental environment. This process of personalization and multicultural content, set within the context of the cultural society of Saint Jean d’Acre at the end of the thirteenth century, are the evidences of the remarkable artistic acculturation of Frankish society in the Holy Land, at the crossroads of the West and the Near East.