Made available in DSpace on 2014-06-11T19:26:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-03-03Bitstream added on 2014-06-13T20:34:21Z : No. of bitstreams: 1 muneratto_bg_me_assis.pdf: 1959753 bytes, checksum: 9532fb758364041e9a284b2637cac21d (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Este trabalho aborda o diálogo entre o crítico de arte Mário Pedrosa e o escultor estadunidense Alexander Calder enquanto fonte de informações estéticas para artistas do chamado projeto construtivo brasileiro. A postura de Pedrosa como organizador da cultura ganhou outro patamar quando ele inicia um programa em defesa da inserção da arte abstrata na lógica artística nacional. Isso só foi possível ao crítico a partir de seu contato com a obra de Alexander Calder que, por sua vez, inaugurou uma estética inovadora na escultura. Unindo postulados da engenharia mecânica e sua grande inspiração circense, Calder deu origem a obras de natureza móvel: os móbiles e com eles reformulou o próprio conceito de escultura. Essas novas possibilidades plásticas apontadas por Calder foram responsáveis por muitas das inovações artísticas no Brasil, pois elas trouxeram a Pedrosa um expressivo alargamento de horizontes para com o fenômeno artístico, sendo desencadeador direto de sua ação como crítico e mentor de uma geração de jovens e brilhantes artistas do Neoconcretismo / Our work treats the dialogue between the art critic Mário Pedrosa and the north-American sculptor Alexander Calder while source of esthetic information to artist of the Brazilian constructive project. Mário Pedrosa‟s as culture organizer gain another level when he starts a program in defense of abstract art and its insertion in the Brazilian‟s artistic logic. This was possible to the critic only after his contact with Alexander Calder‟s workmanship that, by his turn, started a pioneer esthetic in sculpture. Joining postulates of mechanics engineering and his great inspiration on circus, Calder gave origin of mobiles sculptures and it reformulates the concepts of sculpture. These new possibilities pointed by Calder was responsible for many of the artistic innovations in Brazil, because they brought to Pedrosa a expressive widening of horizons with the artistic phenomenon, being directly responsible by his action wile critic and mentor of the brilliant and young artists generation of Neoconcretism

Orientador: Carlos Eduardo Jordão Machado / Banca: Francisco Cabral Alambert Júnior / Banca: Gustavo Henrique Dionisio / Resumo: Este trabalho aborda o diálogo entre o crítico de arte Mário Pedrosa e o escultor estadunidense Alexander Calder enquanto fonte de informações estéticas para artistas do chamado projeto construtivo brasileiro. A postura de Pedrosa como organizador da cultura ganhou outro patamar quando ele inicia um programa em defesa da inserção da arte abstrata na lógica artística nacional. Isso só foi possível ao crítico a partir de seu contato com a obra de Alexander Calder que, por sua vez, inaugurou uma estética inovadora na escultura. Unindo postulados da engenharia mecânica e sua grande inspiração circense, Calder deu origem a obras de natureza móvel: os móbiles e com eles reformulou o próprio conceito de escultura. Essas novas possibilidades plásticas apontadas por Calder foram responsáveis por muitas das inovações artísticas no Brasil, pois elas trouxeram a Pedrosa um expressivo alargamento de horizontes para com o fenômeno artístico, sendo desencadeador direto de sua ação como crítico e mentor de uma geração de jovens e brilhantes artistas do Neoconcretismo / Abstract: Our work treats the dialogue between the art critic Mário Pedrosa and the north-American sculptor Alexander Calder while source of esthetic information to artist of the Brazilian constructive project. Mário Pedrosa‟s as culture organizer gain another level when he starts a program in defense of abstract art and its insertion in the Brazilian‟s artistic logic. This was possible to the critic only after his contact with Alexander Calder‟s workmanship that, by his turn, started a pioneer esthetic in sculpture. Joining postulates of mechanics engineering and his great inspiration on circus, Calder gave origin of mobiles sculptures and it reformulates the concepts of sculpture. These new possibilities pointed by Calder was responsible for many of the artistic innovations in Brazil, because they brought to Pedrosa a expressive widening of horizons with the artistic phenomenon, being directly responsible by his action wile critic and mentor of the brilliant and young artists generation of Neoconcretism / Mestre

Esquisser le portrait de la commaunauté des peintres lyonnais, entre le début du règne de Louis XI (1461) et la crise de la fin des années 1520, a constitué le présupposé de cette recherche. Le recours aux sources (comptables, fiscales et ecclésiastiques) s’est révélé indispensable à l’étude prosopographique et à une démarche d’histoire sociale de l’art, permettant la localisation des peintres, de leurs ateliers, les quelques filiations, leur place enfin (fortune et position sociale) dans la cité. Mais au-delà de cette première approche, l’étude des commanditaires, personnages capitals de la production artistique, a permis de définir plus finement le visage de la pratique picturale lyonnaise. Entre notables, Consulat, ecclésiastiques et rois, les activités de commande dans la ville ont souligné l’absence de grands chantiers et de grandes commandes dans ces décennies de prospérité croissante. Ce sont donc les fêtes, au premier rang desquelles les entrées royales et solennelles, qui mobilisent les forces économiques, littéraires et évidemment artistiques. L’étude des protagonistes de ces cérémonies royales et urbaines comme des thèmes déployés permet de caractériser de façon plus précise l’articulation entre artistes, commanditaires et cité comme d’approfondir la connaissance sur la pratique des peintres, en effet mieux détaillée dans ce cadre. / To sketch the portrait of the painters’ community of Lyon, between the beginning of the reign of Louis XI (1461) and the crisis of the end of 1520s, was the presupposition of this research. The appeal to sources (accounts, taxes and from ecclesiastic origin) showed itself essential to the study of painters and to the approach of social history of the art, allowing the location of them, their workshops, the some filiations, their place finally (fortune and social position) in the city. But beyond this first approach, the study of the patrons, major characters of the artistic production, allowed to define more finely the face of the pictorial practice of Lyon. Between notables, consuls, Consulate, clerics and kings, the activities of command in the city underlined the absence of big construction sites and big orders in these decades of increasing prosperity. They are thus the festivals, in the front row of which the royal and solemn entries, which mobilize the economic, literary and obviously artistic strengths. The study of the protagonists of these royal and urban ceremonies as spread themes allows to characterize in a more precise way the articulation between artists, patrons and city as to deepen the knowledge on the practice of the painters, indeed better known by this way.

L’architecte Claude Jean-Baptiste Jallier de Savault est une figure méconnue dont la redécouverte est relativement récente. Né en 1739 à Château-Chinon, il est élevé dans une famille bourgeoise de culture protestante. Au cours des années 1750, il s’installe à Paris et intègre l’agence de Jacques-Germain Soufflot, alors en pleine effervescence. Le cursus académique qu’il mène en parallèle de cette formation pratique, est couronné par deux seconds Prix en 1758 et en 1760. Soutenu par son maître et par Charles-Nicolas Cochin, il obtient un brevet d’élève architecte de l’Académie de France à Rome et séjourne au Palais Mancini en 1762. À son retour, il poursuit son apprentissage auprès d’Ange-Jacques Gabriel avant d’entamer une carrière au service des financiers d’Ancien Régime. Cette clientèle, à majorité protestante, lui offre l’opportunité de réaliser divers projets à Paris, mais également dans le nord-est du royaume, ainsi qu’en Suisse. Les dernières années du règne de Louis XVI, marquées par l’accession de Jacques Necker à la Direction générale des Finances, constituent le moment fort de sa carrière. Les deux succès publics qu’il remporte à cette époque (Place royale de Brest et hôtel de la Caisse d’escompte) ne voient pourtant jamais le jour, du fait des événements qui agitent le royaume. Après une parenthèse politique dans les premiers temps de la Révolution, il est employé par la Commission des travaux publics avant de devenir architecte des bâtiments civils sous le Directoire. Ce poste, qu’il occupe jusqu’à sa mort, en 1806, lui accorde un statut officiel qui constitue finalement l’aboutissement de la quête de légitimité qu’il mène tout au long de sa carrière. / The architect Claude Jean-Baptiste Jallier de Savault is an unsung figure whose rediscovery is relatively recent. Born in 1739 in Château-Chinon, he grew up in the Protestant milieu of a tradesman family. In the 1750s, he moved to Paris and joined the office of Jacques-Germain Soufflot, then at the height of its activity. The academic course he followed in parallel with this practical training was crowned by two second prizes in 1758 and in 1760. Supported by his master and Charles-Nicolas Cochin, he was accorded the status of a student architect of the Academy of France in Rome and resided at the Palais Mancini in 1762. Upon his return, he continued his apprenticeship with Ange-Jacques Gabriel before starting a career in the service of financiers of the Ancien Régime. This mostly Protestant clientele offered him the opportunity to carry out various projects in Paris, in thenorth-east of the kingdom, as well as in Switzerland. The last years of the reign of Louis XVI, marked by the accession of Jacques Necker to the Directorate General of Finance, was a propitious time in his career. Given thekingdom’s worsening political and financial situation, however, his two public commissions from this time (the Royal square of Brest and the Paris headquarters of the Caisse d’Escompte) were never built. After a brief engagement in political life in the early days of the Revolution, he was employed by the Public Works Commissionand subsequently became an architect of civil buildings under the Directory. With this post, which he held until his death in 1806, he finally gained something of the official status and legitimacy that had long eluded him.

Jean-Baptiste Isabey (1767-1855) connaît une carrière exceptionnellement longue qui s’étend de la Révolution au Second Empire. Après avoir exposé ses premières œuvres au Salon de 1791, cet élève de Jacques-Louis David s’impose sur la scène artistique du Directoire comme le premier dessinateur et miniaturiste de son temps. En s'inscrivant dans un contexte favorable à la diffusion de portraits de moindre coût et de moindre format, sa réussite peu commune rend compte de l'évolution des critères de la reconnaissance artistique à la fin du XVIIIe. Elle témoigne également de la promotion du statut social de l'artiste autour de 1800. Lié aux proches du clan Bonaparte sous la Consulat, Isabey est un des portraitistes de la période les mieux introduits auprès des élites. Son habileté à exploiter des sujets qui répondent aux goûts de ses contemporains permets de mesurer l'importance des relations mondaines dans la naissance et la diffusion des réputations artistiques au tournant du XIXe siècle. Entre 1800 et 1805, Isabey est l'auteur de plusieurs grands dessins de propagande qui scandent les principales étapes de la consolidation du nouveau pouvoir. Familier de la noblesse impériale, l'artiste accumule honneurs et commandes officielles au lendemain du Sacre. Sa réputation est associée aux portraits miniatures de l’Empereur destinés à la caisse des présents diplomatiques et à quelques-unes des plus célèbres représentations officielles de Marie-Louise et du roi de Rome. Ses responsabilités sont extrêmement variées et sa production considérable : il est à la fois peintre des relations extérieures, dessinateur du cabinet et des cérémonies et décorateur en chef de l'Opéra. L'étude de ce parcours pluridisciplinaire offre un champ d'étude remarquable, qui nous fournit bien des clefs pour comprendre la carrière et le statut des artistes de cour sous l'Empire. Après Waterloo, Isabey est mis à l’écart du pouvoir en raison de ses engagements bonapartistes. L'artiste exécute alors plusieurs caricatures et portraits qui le montrent prompt à critiquer la monarchie restaurée. L'analyse des effets de la résistance au régime royaliste dans le monde des arts entre 1815 et 1820 aide à saisir le sens de son engagement dans l'opposition. La période qui s’ouvre au lendemain des Cent-Jours est également fondamentale pour comprendre le parcours artistique d'Isabey et pour apprécier la place que lui assignèrent ses contemporains dans l’art de la première partie du XIXe siècle. Son abondante production, qui se décline en miniatures sur vélin, dessins, lithographies, aquarelles et peintures à l’huile le montre soucieux de l'évolution du goût. Elle met aussi en lumière la difficulté qu'il éprouve à conserver sa réputation de portraitiste après 1820. Cette thèse fournit pour la première fois un catalogue de l’œuvre d'Isabey / Jean-Baptiste Isabey (1767-1855) had an exceptionally long career that spanned from the French Revolution until the Second French Empire. After his early works' exhibition at the Salon of 1791, this student of Jacques-Louis David rapidly became, on the art scene of the French Directory, the finest artist and miniaturist of his time. In a context that made the dissemination of low-cost and small-sized portraits easier, his unusual success reflects the change of artistic recognition criteria in the late eighteenth century. It also reflects the improvement of the social status of artists around 1800. Linked to people that were close to Bonaparte under the French Consulate, Isabey is one of the period's best introduced portraitists. His cleverness in using themes that meet his contemporaries' tastes clearly shows how important social relationships can be in the making and spreading of artistic reputations at the turn of the nineteenth century. Between 1800 and 1805, Isabey is the author of several large propaganda drawings that punctuate the main steps of the new power's consolidation. Familiar with the imperial nobility, the artist collects honours and official commissions in the wake of the Coronation. His reputation is associated with miniature portraits of the Emperor made for the fund of diplomatic presents and with some of the most famous official representations of Marie-Louise and of the King of Rome. His responsibilities are manifold and he produces a lot: he is the official painter for external relations, designer of the Cabinet, designer of Ceremonies and chief decorator of the Opera. The study of this multidisciplinary career gives many keys to a better understanding of the career and status of court artists under the Empire. After Waterloo, Isabey is sidelined because of his bonapartist commitments. At this time the artist performs several caricatures and portraits where he clearly criticizes the freshly restored monarchy. Analysing the effects of this resistance to the royalist regime in the world of arts between 1815 and 1820 helps in understanding his commitment to the opposition. The period opening in the aftermath of the Hundred Days is also fundamental to understanding Isabey's artistic career and to appreciate the place he was assigned by his contemporaries in the art of the first part of the nineteenth century. His prolific output, which comes in miniature on vellum, drawings, lithographs, watercolours and oil paintings shows his constant concern about changing tastes. It also highlights the difficulty he has to maintain his reputation as a portraitist after 1820.This thesis provides for the first time a catalogue of Isabey's works

Très apprécié et répandu pendant la deuxième moitié du XVIIe siècle et les premières décennies du XVIIIe, le portrait historié fut un phénomène caractéristique de la société de cour, révélateur des pratiques artistiques et culturelles de ce milieu. Partout en Europe et surtout en France, l’élite sociale se faisait peindre en costume de fantaisie mythologique ou historique par des peintres célèbres tels que Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier ou Jean Raoux. Figurant encore parmi les desiderata de l’histoire de l’art, l’étude scientifique exhaustive du portrait historié peut toutefois contribuer à la recherche sur le portrait français de l’Ancien Régime en général. Afin de définir la place particulière qui prenait ce type de portrait dans le monde artistique, culturel et sociale de l’époque, nous avons établi une historiographie qui tient compte 1) des innovations iconographiques et formelles du genre, 2) des rapports culturels changeants de ces portraits, 3) de leurs fonctions sociales, et 4) des réactions du public et de la critique d’art à partir du milieu du XVIIIe siècle. Face au discours des Lumières et avec la crise de la monarchie absolutiste en France, ses expressions culturelles et artistiques perdirent leur légitimation, et notamment le portrait historié, étroitement lié aux principes mêmes et aux convictions de la société de cour. / The portrait historié was one of the most characteristic and revealing phenomena of French court society, closely relying on this particular milieu’s artistic and cultural practices, and was thus very much appreciated during the second half of the seventeenth century and the first decades of the eighteenth century. Members of the social elites all over Europe and especially in France chose to sit in mythological or historicized costumes for renowned artists such as Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier or Jean Raoux. An extensive study of this particular kind of portraiture, which is still one of the desiderata in art historical research, might generally contribute to scientific research on French portraits from the Ancien Régime. In order to define the artistic, cultural and social impact and status of portraits historiés, the thesis examines the institutional, iconographic and formal evolution of the genre, its cultural context and influences, its social functions, as well as its reception in 18th century public sphere and especially in the context of enlightened discourse. Resulting from the moral and esthetic principles of court society, these cultural and artistic expressions derived from the absolutist French monarchy lost their legitimation during a period of political and social change and revolution.