L’école romaine et l’école napolitaine de nature morte comptent au XVIIe siècle parmi les plus importantes dans la peinture européenne. Pendant tout le Seicento, elles sont restées étroitement liées, en multipliant les tableaux de fleurs, fruits, légumes, poissons, gibiers, sous-bois.... La thèse étudie l’évolution de ce genre à Rome et à Naples et les resitue dans le vaste tissu des échanges culturels et stylistiques entre ces deux capitales. Elle analyse la place de la nature morte dans le marché de l’art (circulation, marchands, prix, estimations) et dans les collections. Le goût de mécènes variés pour ces tableaux est étudié. Des comparaisons formelles entre les œuvres de différents peintres, comme Mario dei Fiori et Paolo Porpora, Michelangelo Cerquozzi et Giovanni Battista Ruoppolo ou Giovanni Battista Recco et Gian Domenico Valentino sont effectuées. On explique également le rôle d’Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci, et Andrea Belvedere. / The Roman and the Neapolitan school of still-life painting are in 17th Century among the most important in Europe. During the whole Seicento, these two schools are closely tied and produced a large amount of paintings of flowers, fruits, vegetables, fishes, game, woodland Scenes (sottoboschi)… This PhD analyses the evolution of still-life painting in Rome and in Naples and places it in the numerous stylistic and cultural exchanges between these two capitals. The place of still-life painting in the art market (circulation of works, merchants, prices, appraisals) and in the collections is studied. The Patrons’ taste for these pictures is examined. We carry out stylistics comparisons between works by Mario dei Fiori and Paolo Porpora, Michelangelo Cerquozzi and Giovanni Battista Ruoppolo or Giovanni Battista Recco and Gian Domenico Valentino. We also investigate the role of Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci and Andrea Belvedere.

The following study has its origin and context in the politically polarised McCarthy era of the American history. With the WWII in retrospect, politicians in Western nations quickly acknowledged the potential impact and sphere of influence of popular culture and its ability to form public opinion. During this period attempts were made to censor culture from underlying socialist messages in order to spread and awake support for the government, especially in mainstream Hollywood productions. However, how successful were these attempts and did it actually create a resistance against the censorship’s proclaimers? This study analyses four different Hollywood science fiction films from the 1950’s and argues that the underlying messages were more diverse than previously expected. Some of the productions seemed to endorse the McCarthyist values, whereas others more clearly rejected these sets of values, implicitly claiming they were a highly irrational response to an unstable international situation.

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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

The aim of this thesis is to clarify the concept of still life, outlining its development in the context of art from antiquity to the present. The work will focus select content for specification and formal transformations of still life with the possibility of using the outline of educational potential for the practice of art education in elementary schools. This work includes theoretical and practical part. The theoretical part deals with the history, basic principles and techniques of still life in art and his world and Czech officials. Practical application includes a realistic still life theme in art lessons and its subsequent possibilities.

A partir de l'élaboration du catalogue de son oeuvre (tableaux de chevalet et peintures décoratives), cette thèse étudie et ré-évalue la place de Jean-Baptiste Monnoyer dans la France du Grand Siècle. L'étude des oeuvres de ses collaborateurs et contemporains permet de préciser l'originalité de sa personnalité artistique et de définir sa place dans le développement de la peinture de nature morte en France au XVIIe siècle. Né à Lille, Monnoyer arrive tôt à Paris, où il ajoute à son expérience de la nature morte nordique l'influence des peintres français de la vie silencieuse. Il inscrit aussi son nom dans le siècle de Louis XIV comme peintre décorateur, effectuant les premiers décors des résidences de jeunesse du monarque (Saint-Germain-en-Laye, Vincennes, les Tuileries). Il y donne ses lettres de noblesse au motif de la guirlande tressant la gloire du prince.Comme collaborateur de Le Brun, il travaille dans des chantiers privés (Hôtel Lambert, château de Vaux), ou des châteaux de ministre du roi (Sceaux). Il part encore travailler en Angleterre à la fin du siècle. L’abondance des commandes royales l'oblige à s’entourer d’assistants. Les enjeux artistiques de cette production sont enfin analysés : la position du genre de la nature morte dans la doctrine officielle de l’Académie et sa reconnaissance dans les collections privées ; le statut du peintre de nature morte dans la génération des classiques, de Félibien à Perrault. Enfin, le rôle fondamental de Monnoyer dans le développement et la diffusion de ce genre est étudié. / Having compiled the entire work catalogue of Jean-Baptiste Monnoyer (easel paintings and decorations), this thesis aims to study and re-value his importance in France during the Grand Siècle.Through the study of works of his collaborators and contemporaries the uniqueness of his artistic personality is specified, as well as his position in the development of still life painting in France during the 17th century.Born in Lille, Monnoyer came early to Paris, where he joins his knowledge of Nordic still life painting to the influence of French « silent life » painters.His name is famous too during the century of Louis XIV as a painter decorator. As such, he made the first decorations for the youth residences of the monarch (Saint-Germain-en-Laye, Vincennes, the Tuileries). He there develops the importance of the pattern of the garland glorifying the prince.As a collaborator of Le Brun, he works in private worksites (Hôtel Lambert, château de Vaux), or in castles of ministers (Sceaux). He also works in England at the end of the century. Due to the great amount of royal orders, he was forced to gather assistants. The artistic issues of this production are analysed: the situation of the still life genre in the official doctrine of the Academy, and his recognition in private collections ; the position of the still life painter in the classical generation, from Felibien to Perrault. And then, the fondamental part of Monnoyer in the development and the rayonnment of this genre is studied.

The small scale fuel ethanol production faces serious problems of inefficiency inherent to the process. The yield increase in distillation step presents a promising way to guarantee technical and economical feasibility to microdistilleries. As the general objective, it is proposed a different still, a hybrid miscellaneous of plates and packing, in stripping and rectifying sections respectively, and as a specific objective, to explore the best technical features of each tower internals. The studied prototype consists of one glass constructed continuous operation bench still, divided in 3 modules of 190cm effective height and a 4cm internal diameter; two modules filled with Raschig rings and one module as vigreux type. Tests were performed under total reflux, and later in continuous operation. In total reflux, the number of transfer units and the height of transfer unit were determined, referred to liquid and gas phases. The obtained values were approximately and respectively: 11,6 and 10,3; and 0,1847cm and 0,1632cm. The theoretical stages number was determined using four different methods that allowed evaluate the height equivalent to a theoretical plate. Standing out is the method proposed by Katayama, whose values were closer to the number and height transfer unit, 9,18 and 0,1733m respectively. Subsequently, seven experiments were performed (A, B, C, D, E, F and G) in continuous operation, differ only on their variable rate of vaporization, in order to assess their influence in the still operating performance (minimal distillated ethanol concentration - 83,04% mol, and maximum bottom ethanol concentration 0,196% mol, operational capacity and energetic factor). Therefore experiment C showed the lowest reflux ratio (2,293)and the highest energy factor (1,342), besides complying the concentration limits for the distillate (83,14% mol) and bottom product (0,16% mol). By comparing the experiments of higher (A 84,24% mol) and lower (E 82,82% mol) distillate concentration was concluded that, in order to obtain a small gain in distillate concentration (1,71%), it was necessary an increase of 226,07% in the A reflux ratio compared to E experiment, resulting in an increase of 51,38% in specific energy consumption. Thereby the A energetic factor experiment was approximately 50% smaller. It can be stated that these results prove the technical feasibility of proposed miscellaneous still, with wide application in microdistillaries. / A produção de álcool combustível em pequena escala, até 25L.h-1, enfrenta sérios problemas relativos à ineficiência inerentes a seus processos. O aumento de rendimento na etapa de destilação apresenta-se como uma maneira promissora de viabilizar técnica e economicamente as microdestilarias. Sendo esse o objetivo geral, propõe-se um destilador diferenciado, um misto composto de pratos e recheios, respectivamente nas seções de esgotamento e retificação, e como objetivo especifico, aproveitar as melhores características de cada um desses internos de torre. O protótipo estudado consiste de um destilador de bancada, construído em vidro, em regime de operação contínuo e dividido em três módulos, com altura efetiva total de 190 cm e diâmetro interno de 4cm; dois módulos preenchidos com anéis de Raschig e um módulo do tipo vigreux. Foram realizados testes em refluxo total e, posteriormente, em regime contínuo. Em refluxo total determinou-se o número de unidades de transferência e a altura da unidade de transferência, referidas às fases líquida e gasosa. Os valores obtidos foram aproximada e respectivamente: 11,6 e 10,3; e 0,1847 cm e 0,1632 cm. O número de estágios teóricos foi determinado utilizando-se quatro diferentes métodos, que permitiram avaliar a altura equivalente ao prato teórico. Destaca-se o método proposto por Katayama, cujos valores obtidos se aproximaram mais do número e altura das unidades de transferência, 9,18 e 0,1733m, respectivamente. Posteriormente foram executados sete experimentos (A, B, C, D, E, F e G), em regime contínuo, diferenciados entre si pela variação na taxa de evaporação, de maneira a permitir avaliar sua influência no desempenho operacional do destilador (concentração de etanol no destilado (mínimo igual a 83,04% mol) e no produto de fundo (máximo igual a 0,196% mol), capacidade operacional e fator energético). Assim, o experimento C apresentou a menor razão de refluxo (2,293) e o maior fator energético (1,342), além de respeitar os limites de concentração para o destilado (83,14% mol) e para o produto de fundo (0,16% mol). Através da comparação entre os experimentos de maior (A 84,24% mol) e menor (E 82,82% mol) concentração do destilado foi possível verificar que, a fim de obter-se um pequeno ganho na concentração do destilado (1,71%), foi necessário um aumento de 226,07% na razão de refluxo de A em relação a E, resultando em um aumento no consumo específico de energia de 51,38%. Assim, o fator energético foi aproximadamente 50% menor para o experimento A. Pode-se afirmar que esses resultados comprovam a viabilidade técnica da proposta desse sistema misto de destilação, com grande aplicabilidade nas microdestilarias.

This thesis rediscovers the Swedish painter Märta Rudbeck (1882–1933). During her lifetime she was an esteemed composer of flower still lifes and portraits. Her forgotten heritage follows those of other female artists, whose legacies are long forgotten. By retracing her life through archives and newspaper articles, a picture of her upbringing, education, career and network affiliations emerges. By using the French sociologist Pierre Bourdieus field theory, the aim of the thesis is to analyse the social, educational, cultural and economic aspects that affected Märta Rudbeck’s life, and how this was manifested in her art. The strategies Märta Rudbeck encompassed, are highlighted in the analysis. She chose to exhibit her work with a variety of associations and also took commissions for portraits and copies of older works of art. The analysis also reveals how she followed in her mother’s footsteps and embraced female networks to further her career. Furthermore, the thesis uncovers how her heritage, social class and upbringing most likely influenced her choice of genre, which in turn has prevented her from staying relevant since her untimely death in the early 1930’s. The thesis finally discloses how Märta Rudbeck’s artistry is once again made relevant, through a major museum acquisition as well as an exhibition at one of the greater art institutions in Sweden.

Mémoire en recherche-création. / Un essai sur le rapport entre l'image fixe, soit la photographie et les images en mouvement dans la création du cinéma d'essai. Une recherche sur certains photographes-cinéastes avec une perspective historique sur les mouvements de la photographie documentaire parallèle a l’avènement du cinéma d'essai, ainsi qu'une auto-analyse de mon propre film "Ouroboros". / An essay on the relationship between the still image, that is, photography and moving images in the creation of the essay cinema. A research on some photographers-filmmakers with a historical perspective on the movements of documentary photography parallel to the advent of the essay cinema, as well as an analysis of my own film "Ouroboros".

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