Global ETD Search

31	Metatextiles and the Triumph of Tapestry Adams, Kristen Irvine 04 September 2020 (has links) No description available. Art History Art Criticism art history tapestry textiles materiality material studies metatextiles illusionism frames framing devices
32	Translating the wilderness Englund, Lisa January 2023 (has links) I weave figurative tapestries, working with themes regarding our relationship to the wild, both in nature and ourselves. I dye my yarns with mushrooms and plants I pick in the forest. I go through this trouble because I want the material to carry a story within itself, I see it as giving it life. This method makes the work divided in three main steps: the foraging, the dyeing, and the weaving. Natural dyes Tapestry weaving Forest Nature Religion Växtfärgning Bildväv Skog Natur Religion Arts Konst
33	Geometries of Absence Fifield-Perez, John Creighton 23 June 2023 (has links) No description available. Fine Arts Gender Glbt Studies Personal Relationships
34	La tenture de l’abbatiale Saint-Robert de La Chaise-Dieu : un chef-d’œuvre de collaboration / The tapestries of Saint-Robert of La Chaise-Dieu Brun, Sophie 02 October 2009 (has links) Conservés dans le chœur de l’abbaye Saint-Robert pour lequel ils furent crées, les douze panneaux de la tenture de La Chaise-Dieu mettent en scène les épisodes de la Vie du Christ et de la Vie de la Vierge, flanqués de leurs préfigures vétérotestamentaires. En outre, deux pièces indépendantes reproduisent plusieurs compositions évangéliques du cycle principal. De multiples blasons révèlent l’identité du commanditaire, Jacques de Saint-Nectaire, qui gouverne l’institution bénédictine de 1491 à 1518, soit dans le contexte historique de l’arrivée de la commende. Basée sur un matériel d’analyse exceptionnel, cette étude monographique propose une reconstitution de l’élaboration artistique de l’œuvre et tente de définir l’implication du commanditaire dans le projet initial, le degré de liberté des peintres et l’influence des lissiers sur le rendu final des tapisseries. Dans ce but, l’étude des modèles gravés et de leur utilisation lors de la réalisation des cartons à grandeur fait l’objet d’une attention particulière. En conclusion, ce travail apporte des hypothèses concernant le milieu d’origine des artistes et la localisation de leurs ateliers. / As one of the most spectacular cycle of medieval tapestries preserved, the fourteen woven panels of La Chaise-Dieu - for most of them still hanging in the choir of Saint-Robert church (Auvergne/France) - depict episodes of Jesus and Mary’s life along with scenes extracted from the Old Testament. Their many blazons have always identified their patron with Jacques de Saint-Nectaire, abbot of the Benedictine institution from 1491 to 1518. Thanks to the tremendous group of evidences offered by this unique set, this research challenges the general assumptions of the elaboration of tapestries, introducing a new insight about the distinctive roles played by the patron, the master painter, his assistants and the weavers. A particular importance has been lent to the study of the engravings used as patterns. As a conclusion, this work aims to provide some hypothesis regarding the artists’ origins and their workshops’ location. Tenture de chœur Tapisseries La Chaise-Dieu Travail d’atelier Tissage Modèles gravés Peinture flamande Fin du 15e siècle Middle Ages Tapestry Fifteenth century
35	Les « Beaux-arts appliqués à l’industrie » : la Manufacture de Beauvais et ses peintres dans la seconde moitié du XIXe siècle / French decorative and industrial arts : the Beauvais manufacture and its painters during the second half of the nineteenth century Le Drogoff, Agathe 24 May 2018 (has links) Entre 1848 et 1914, un groupe de peintres exerça une « mainmise » sur la Manufacture de Beauvais. Pierre-Adolphe Badin et son fils, Jules, Pierre-Adrien Chabal-Dussurgey et Jules Diéterle en furent tour à tour les administrateurs et les principaux cartonniers. Chacun était issu d’une formation différente, de la plus courue à la moins reconnue : des Beaux-arts de Paris à l’école de l’industrie. Malgré la diversité de leur parcours, la Révolution de 1848 les rassembla au sein des Manufactures nationales, où ils participèrent à la régénération des arts décoratifs français. Il s’agit de comprendre les choix esthétiques de la Manufacture à travers deux niveaux d’analyse : celui des individus et de leur réseau, en les resituant ensuite dans le contexte plus général de l’industrie textile de la seconde moitié du XIXe siècle. / Between 1848 and 1914, a group of painters had a “stranglehold” on the Beauvais tapestry Manufacture. Pierre-Adolphe Badin and his son, Jules, Pierre-Adrien Chabal-Dussurgey and Jules Diéterle were in turns the managers and the main cartoon painters of this manufacture. They all came from different backgrounds: two of them attended the Fine Arts School of Paris, while the others ones were trained in the industry. Despite the diversity of their artistic careers, the French Revolution of 1848 brought these painters together within the National Manufactories, where they contributed to the revival of the French decorative arts. The aesthetic choices of the Beauvais Manufacture will be analyzed through the lens of these individual people and their network, while taking into account the global context of the textile industry during the second half of the nineteenth century. Tapisserie Manufacture de Beauvais Arts décoratifs Badin Diéterle Chabal-Dussurgey Tapestry The Beauvais Manufacture Decorative arts Badin Diéterle Chabal-Dussurgey
36	Vignettes Shinko, Kathryn A. 20 May 2015 (has links) No description available. Fine Arts textiles fiber art sex pornography landscapes voyeurism weaving tapestry craft language sexism women internet pornography objectification
37	Text and Tapestry: "The Lady and the Unicorn," Christine de Pizan and the le Vistes Williams, Shelley 21 May 2009 (has links) (PDF) The luminous, famous and enigmatic The Lady and the Unicorn tapestries are timelss objects at the center of heated scholarly discussion. There are six tapestries, created circa 1480-1500 (figures 1 – 6), and were commissioned by the le Viste family of Lyon, whose heraldic arms appear in each tapestry. This paper seeks to connect the tapestries conceptually to contemporary courtly, feminine ideals, the image of woman in late fifteenth-century Paris, and most importantly to Christine de Pizan's writings, particularly City of Ladies and The Treasury of the City of Ladies, both written in 1405. Through her texts, Christine de Pizan (1363 – 1434) created a noble, dignified image of women that may have influenced the way viewers were intended to perceive The Lady and the Unicorn tapestries. While recent scholarly studies have connected the tapestries to contemporary texts, there has not been a discussion regarding Christine de Pizan's influential writings, their surrounding discourse, or the image of a woman as the visual embodiment of the le Viste family in connection to the tapestries. Specific passages in Christine's texts resemble motifs, objects, and underlying messages in The Lady and the Unicorn. While Christine's works may not have been the direct inspiration for the tapestries, both are a part of the visual and textual make-up of the abstracted feminine ideals that were circulating in Paris and France at large in the fifteenth century. The Lady and the Unicorn may also have had a didactic purpose similar to Christine's Treasury of the City of Ladies, displaying for the le Viste daughters through a visual medium the attributes of the ideal maiden. Exploring the cultural context in which The Lady and the Unicorn was created, specifically as it relates to women in society, the upper class, expectations for young maidens, visual and written moral messages for women and their artistic manifestations provides a new understanding of these exceptional tapestries. lady and the unicorn unicorn lion medieval tapestry tapestries gothic art gothic tapestry woman medieval women maidens Cluny Christine de Pizan Pizan feminist art history art history le Viste Viste family French art French tapestry France fifteenth century lady five senses sight touch taste sound a mon seul desir Art Practice
38	The Barberini and the new Christian Empire : a study of the history of Constantine tapestries by Pietro Da Cortona. Garfinkle, Elisa Shari. January 1999 (has links) This study traces the genesis and development of the History of Constantine tapestries designed by Pietro da Cortona and woven on the looms established by Francesco Barberini shortly after his return from France in December 1625. The circumstances surrounding the creation of the series provide a foundation and a framework for exploring its meaning and purpose. Though inspired by an earlier Constantine suite of tapestries designed by Rubens, the "Cortona" panels should be read as an independent entity, the significance of which can only be fully appreciated within the context of the gran salone of the Palazzo Barberini, which I propose was their intended destination. This conclusion is supported by the many links between the tapestries and Barberini ideology, papal politics, the palace and the ceiling fresco in the Salone. Like the Divine Providence fresco, the "Cortona" series is a summa of the virtues and religious, political, intellectual and social initiatives of the family. The series emerges finally as a promotionally Italian endeavour, a showcase of Italian art and culture. Palazzo Barberini (Rome, Italy) Tapestry, Flemish -- Italy -- Rome.
39	Bande dessinée et séquentialité : les formes de la narration par images / Comics and sequentiality : the forms of storytelling through images Andreani, Nicola 28 November 2014 (has links) Cette thèse porte sur le principe même de séquentialité d’images fixes, pour comprendre la différence entre la Bande Dessinée et les différentes formes de narration par images fixes, même les autres arts. Cela nous aide à comprendre pourquoi la Bande Dessinée est devenue un art autonome, pourquoi la Bande Dessinée s’est plus developpée que d'autres formes de narration par images, et quelles sont plus précisément les origines de la Bande Dessinée.Analyser la naissance de la Bande Dessinée signifie donc tracer un parcours à travers des oeuvres, des auteurs ou des mouvements fondamentaux, et considérer les thèmes, les poétiques, les technologies qui l'ont définie à telle ou telle époque. Ce travail vise donc à identifier les oeuvres qui forment une ligne de partage entre le Moyen Âge et l'Âge Moderne. Une analyse historique, mais également paradigmatique, aidera à mieux comprendre comment la Bande Dessinée a évolué, quelles influences ont eu les autres formes d'art (comme la peinture, la littérature, la caricature ou le théâtre) mais surtout, quelles techniques et stratégies ont été mises en place et ont fait évoluer la Bande Dessinée vers un système narratif à base iconique. / This thesis focuses to question the very principle of sequentiality of still images, that is to understand how in Sequential Art this dynamic takes different forms, but at the same time, how Sequential Art can be differentiated from other Arts. This help us to understand why it became an autonomous art, why it has developed more than any other sequential art, how and when the Comic was actually created.Analyze the rise of the Comics means tracing a path through the works, authors and the basic movements, considering the new poetics, themes, techonologies, that have defined this. This work aims to identify works which form a connection between the Middle Ages and the Modern Age. A historical analysis, but also paradigmatic one, will help to better understand how Comics evolved, what influences have had other forms of art (such as painting, literature, theater or caricature) but, above all, which techniques and strategies have been implemented and have changed Comics toward a narrative system based on images. Bande Dessinée Illustration Art Séquentiel Narration par images Cycle de fresques Tapisserie de Bayeux Biblia Pauperum Comics Illustration Sequential Art Visual Storytelling Cycle of Frescoes Bayeux Tapestry Biblia Pauperum
40	Le Roman de la Rose et les arts figurés autour de 1500 : Lieux communs de la réception et de l'interprétation / The Romance of the Rose and figurative arts around 1500 : commonplaces of receipt and interpretation Decu Teodorescu, Carmen 21 November 2015 (has links) A la fois lieu commun du raisonnement et cliché discursif - selon la distinction opérée par Remy de Gourmont pour qui le lieu commun renvoie à la banalité de l'Idée, tandis que le cliché représente la matérialité même de la phrase -, l'antienne de l'influence du Roman de la Rose sur les arts figurés au Moyen Âge est devenue l'une de ces nombreuses redondances argumentatives sustentant régulièrement la rhétorique en histoire de l'art. Partie de ce constat inflationniste et du désir de vérifier le bien-fondé d'une hypothèse iconographique reliant le Roman de la Rose à la tenture de la Dame à la Licorne, cette enquête a essayé de mettre en exergue le danger des lieux communs de l'interprétation en histoire de l'art, et plus particulièrement de ceux faisant un usage inconsidéré du texte de Guillaume de Lorris et Jean de Meung. / Both discursive cliché and commonplace reasoning – according to the distinction made by Remy de Gourmot for whom the commonplace refers to the banality of the Idea while the cliché is the very materiality of the sentence – the anthem of the Roman de la Rose's influence on figurative arts in the Middle Ages became one of those many redundancies regulary invoked in argumentative rhetoric. Provoked by this observation and by the desire to check the relevance of an iconographic hypothesis linking the Roman de la Rose to the tapestry of the Lady and the Unicorn, this investigation has tried to highlight the danger of the interpretation commonplaces in Art History, especially those making a reckless use of Guillaume de Lorris and Jean de Meung's poem. Enluminure Tapisserie Littérature Iconographie Lieu commun Interprétation Roman de la Rose Dame à la Licorne Illumination Tapestry Literature Iconography Platitude Interpretation Romance of the Rose Lady with the Unicorn

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