Le Liber diversarum artium, seconde copie d'un traité de technologie artistique vraisemblablement écrit dans les années 1350, est conservé à la Bibliothèque inter-universitaire de Médecine de Montpellier, dans un manuscrit du XVe siècle, le Ms H277 (vers 1470). Ce texte, par sa structure novatrice, les sources connues antérieures aux années 1300 qui l'alimentent, et leur diffusion, nous a autorisé à le mettre en regard d'œuvres peintes sur bois et sur mur des XIIe et XIIIe siècles conservées en Catalogne, comme nous aurions pu le faire avec n'importe quel autre corpus cohérent. Par le territoire « historique » qu'elle recouvre au Moyen Âge, par le nombre d'œuvres conservées et par leur grande variété esthétique et technique, la Catalogne répondait à cette cohérence. Les peintures retenues ont été envisagées du point de vue leur matérialité. La méthodologie développée pour l'aborder s'est articulée dans une dialectique constante entre le savoir écrit, théorique, du Liber ou d'autres traités, et le savoir pratique mis en œuvre par les peintres en Catalogne aux âges romans. L'observation macroscopique des œuvres, ainsi que la collecte de données physico-chimiques concernant certaines d'entre elles, ou encore notre propre expérience, nous a donné une matière propice à la compréhension du métier de peintre. De cette confrontation est née une lecture singulière, mettant au cœur de notre réflexion le peintre dans l'apprentissage et l'exercice de son métier. / The Liber diversarum artium, second copy of a treatise on artistic technology probably written in the 1350s, is held at the Inter-university Library of Medicine of Montpellier, in a fifteenth century manuscript, Ms H277 (1470). The innovative structure of this text, the pre-1300s sources it draws on, and their dissemination, enabled us to compare it with works painted on wood and walls in the twelfth and thirteenth centuries preserved in Catalonia, as with any other coherent corpus. By virtue of the "historical" territory it covers in the Middle Ages, the number of works conserved and their wide aesthetic and technical variety, Catalonia provided this coherence. The selected paintings were considered from the perspective of materiality. The methodology developed for the task was structured as a constant dialectic between written and theoretical knowledge contained in the Liber or other treatises, and the practical knowledge applied by painters in Catalonia in the Romanesque period. Macroscopic observation of the works, the collection of physicochemical data concerning some of them, and our own experience, provided us with material that was conducive to understanding the painter's craft. This comparison produced a singular reading, in which thinking is focused on the painter in the learning and the exercise of his craft.

Desde a primeira publicação da alcunha Pistóxenos Painter (Pintor de Pistóxenos), designando o artista cujas mãos originaram pinturas de um conjunto de vasos áticos, passou-se a dispor de uma nova classificação para este material. Tal classificação ainda e tida como muito mais precisa que qualquer cronologia ou tipologia existente. Quase a totalidade dos pesquisadores de ceramologia e iconografia gregas entenderam que enquanto a denominação foi uma invenção moderna, o pintor anônimo por ela determinado foi uma descoberta. O autor desta e de centenas de outras atribuições, o helenista inglês John D. Beazley (1885-1970), foi indubitavelmente o mais importante perito ou connaisseur de que se tem registro, a julgar pela extensão enciclopédica de suas listas de pintores e pela aceitação quase universal dos resultados de seu método de atribuir. Críticas e revisões deste método (surgente no século XIX, com os estudos do medico e perito Giovanni Morelli) são datadas já das primeiras décadas do século XX e tiveram uma historia descontinua e desprestigiada. Uma analise recorrente do revisionismo o atribui a falha de seus defensores e a ignorância das técnicas morellianas. Talvez a principal característica dos ataques dirigidos as atribuições de Beazley tenha sido a falta de importância atribuída ao reconhecimento de pintores vasculares. Seja pela proximidade com a arte do metal, seja pelo lugar que estes artistas ocupavam na sociedade ateniense, sobretudo entre o fim das guerras medicas e a ascensão política de Péricles. A presente tese se propõe a considerar o problema do método de atribuição a partir da obra de um só pintor, escolhido dentre aqueles que não foram diversas vezes reconsiderados e extensivamente justificados (a única monografia dedicada ao Pintor de Pistóxenos foi publicada nos anos 1950). A divergência estilística entre os fundos brancos e as figuras vermelhas do Pintor de Pistóxenos e a conservação fragmentaria da maioria de suas obras também colaboraram para a decisão de revisar esta serie de atribuições dentre tantas outras. / Since the first publication of the nickname Pistoxenos Painter, like identity of an artist whose hands had originated attic vase-paintings, a new classification of the series of vases and fragments was developed. This classification is still recognized like more precise than all other existing chronology or typologies. Almost all the specialists in Ancient Greek ceramology and iconography understood that while the denomination was a modern invention, the anonymous painter determined was a discovery. The author of this and hundreds of other attributions, the English Hellenist John D. Beazley (1885-1970), was doubtlessly the most important well-know connoisseur of all the History, what can be judged by the encyclopedic extension of his lists of painters and by the almost universal acceptance of his method of attribution\'s results. Criticisms and revisions of this method - initiated in XIX century, with the studies of Giovanni Morelli, an Italian doctor and connoisseur - are dated already of the first decades of XX century, but their development was discontinuous and discredited. A current interpretation of the revisionism considers it like an error and ignorance of the techniques developed by Morelli. The principal characteristic of the attacks against attributions of Beazley is perhaps the lack of importance given to the recognition of the vascular painters. Either by the proximity with the metal\'s art, or by the place that the pottery artists occupied in the Athenian society, chiefly between the end of the Persian wars and the political ascension of Perikles. This thesis proposes to considerate the problem of the method of attribution from only one painter\'s workmanship, chosen among the least published and not extensively justified (the only monograph dedicated to the Pistoxenos Painter was published in the years 1950). The stylistic divergence between the white-grounds and the red-figures of the Pistoxenos Painter, and the fragmentary conservation of the majority of his works had also collaborated for the decision to revise this particular series of attributions.

Léon Bonnat (1833-1922) reçoit sa formation artistique en Espagne, puis dans l’atelier parisien du peintre Léon Cogniet, enfin à Rome. Ses premières grandes compositions religieuses lui apportent très tôt le succès, la renommée, les commandes de l’État, et ses scènes de genre italiennes ou orientalistes sont achetées par la clientèle privée. Vers le milieu des années 1870, il se tourne définitivement vers la peinture de portrait dans laquelle il remporte un immense succès faisant de lui, selon ses contemporains, l’un des plus grands portraitistes de son époque. Il peint les portraits des représentants de la classe dirigeante et fortunée française ou étrangère, en particulier américaine, jusqu’à la Première Guerre mondiale. Il pratique ce genre jusqu’à la fin de ses jours, laissant derrière lui, au-delà des portraits d’amis artistes ou de membres de sa famille, une exceptionnelle « galerie » des personnalités du moment, aristocrates, hommes politiques, grands bourgeois français et étrangers, dont quelques œuvres « iconiques » qui marquent la mémoire collective. / Léon Bonnat (1833-1922) received artistic training in Spain, then in the Parisian studio of the painter Léon Cogniet, and finally in Rome. His early large religious pictures quickly brought him success, fame, and State commissions, while his Italian and Orientalist genres scenes were purchased by private patrons. Around the middle of the 1870s he made a definitive turn toward portrait painting that became immensely successful and made him, according to his contemporaries, one of the greatest portraitists of the wealthy and ruling class in France or abroad, particularly in the United States, before the First World War. He practiced in this genre until the end of his life, leaving behind - except for the portraits of his artist friends and members of his family - an exceptional gallery of personalities of the time, primarily aristocrats, politicians, and French and foreign grands bourgeois, including several iconic works that mark the collective memory.

Le recensement des tableaux du XVIIe siècle conservés dans les églises sarthoises a permis de constater une forte activité des peintres manceaux à cette époque, jusque là encore très mal connue. Pourtant, elle a contribué à l’élaboration d’une manière propre aux milieux artistiques manceaux d’alors qui ont su prolonger loin dans le siècle la séduction du maniérisme, sans pour autant raidir celui-ci. La prédominance, puis la persistance du maniérisme s’expliquent par l’immense diffusion de la gravure anversoise à la charnière des XVIe et XVIIe siècles. Plus tard, l’autorité des maîtres parisiens, italiens et flamands reposa sur la reproduction de leurs oeuvres par l’intermédiaire des estampes. Éloignée des grands foyers artistiques, la peinture mancelle était en général conservatrice et répétitive, cherchant tout d’abord à vivement frapper le fidèle. Les tableaux religieux de l’époque post tridentine étaient surtout des oeuvres fonctionnelles, limitées à l’interprétation stricte des scènes, et pour lesquels pouvaient suffire des talents médiocres, et où le recours à la copie était très courant. Cette thèse permet de constater que le milieu des peintres manceaux, tout en gardant ses particularités provinciales, fût dynamique, ouvert aux apports nouveaux et riche en personnalités intéressantes. Leurs oeuvres ont constitué une sorte de tournant dans la production régionale dont l’évolution a suivi les mêmes directions que les grands courants parisiens, quoique avec un écart inévitable. Sont d’abord étudiés la Commande, les Peintres, la Création, les OEuvres et l’Évolution de la peinture mancelle (I). Vient ensuite le Dictionnaire des peintres manceaux (II), et enfin le Catalogue des oeuvres (III). / The inventory of 17th-century paintings in churches in the département of Sarthe reveals that painters in Le Mans, hitherto little known, were prolific at that time. This hive of activity gave rise to an artistic scene in the province of Maine, in and around the city of Le Mans, which prolonged the style of mannerism well into the century, until it was replaced by the authority of Parisian, Italian and Flemish masters. A far cry from main artistic centres, Maine painting was generally conservative and repetitive. Above all, it sought to strike religious believers. Religious works by Maine painters during the post-Tridentine era were functional works, content to merely portray a scene. They required little or no talent and copying was very widespread. This thesis shows that the painting scene in and around Le Mans, although doggedly provincial, was dynamic, open to new contributions and full of interesting characters. Their work marked a turning point in regional production and its evolution followed the same trends as the major Parisian currents, albeit with an evitable delay. We shall examine commissioning, the artists, creation, works and the evolution of painting in Le Mans (I). This will be followed by the dictionary of Maine painters (II) and the catalogue of works (III).

Bočková, A.: Artificialism as a specific Czech inter-war style [Diploma thesis] Prague, 2016 - Charles University, Faculty of Education, Department of Art Education. 118 p. This diploma thesis has the character of comparative analysis, which deals with the Artificialism as specific Czech style in the period between two world wars. This work maps its position in the interwar art. It finds resource for a development of art and literary style similar to poetism or the Devetsil association. The poetism brings a new view of the world. The Artificialism is its visual equivalent that provides identification of the painter and poet, or poetry and image, or the topic of memories of memories. The thesis also presents the main and only two members of Artificialism - Styrsky and Toyen, and discusses their work, ideas, practices and theoretical works. I analyse the tensioned relationship between Artificialism and surrealism in the conclusion. The important finding is that artificialism is the original and most peculiar style of the interwar avant-garde, not only an intermediate step between Cubism and Surrealism, as it was presented in last years. On the base of theoretical part there was made the concept of practically proven didactic series, with reference to the Framework Education Programme and to the...

Hannes Beckmann (1909-1977). Dessau - Prague - New York This PhD thesis is dedicated to an exceptional, though still forgotten personality, an artist of German descent, Hannes Beckmann |1909-1977|. A graduate of Germany's Bauhaus, he was one of the refugees fleeing Nazism to Czechoslovakia, and among many other achievements, he later became the director of the photography department of the Guggenheim Museum in New York. Through his work, he fulfilled avant-garde ideas on the synthesis of artistic fields: he was a painter, stage designer, art theorist and pedagogue, but also a creator of abstract objects moving along the boundaries of minimalistic and kinetic constructions. His fate in life and created body of work began gaining a clearer form in the framework of research on visual artists, who found sanctuary in interwar Czechoslovakia from demagogic political systems. Until that time, Hannes Beckmann had been utterly unknown to Czech art history and elsewhere. This is seen in the absence of his name in Czech technical literature, but also because he was never mentioned even in publications published by the Bauhaus with which he had been involved for some time. There was only sketchy information on his pedagogical and artistic work in the area of Op-Art (optical art) from the 1960s to 1970s in the United...

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Mihri Rasim (1885-1954) est la plus importante peintre turque et une pionnière féministe. L’idée reçue à son sujet est qu’elle a été une artiste marginale, inclassable et qu'elle est décédée dans la désuétude aux États-Unis, amère d’avoir choisi une carrière artistique. À défaut d’information, auteurs et historiens de l’art ont masqué leur ignorance en élaborant un récit à partir de la personnalité fascinante de Rasim. La présente étude, qui est la première thèse de doctorat et aussi la première monographie extensive sur Rasim, déconstruit ce mythe. Rasim était une ambitieuse peintre et une Jeune-Turque arriviste qui avait une stratégie pour atteindre l’objet de son ambition. Elle a poursuivi deux objectifs tout au long de sa vie : élargir le spectre des possibilités des femmes et être considérée elle-même, selon ses propres termes, « parmi les gens de talents ». À Istanbul, à une époque où les femmes pouvaient difficilement sortir de leur harem, elle a instauré une première école de beaux-arts pour les femmes. Pendant qu’elle y était la directrice, elle a mis en place les premiers cours de nus féminins de l’histoire de l’art turc. Elle a permis aux femmes de recevoir une éducation artistique comparable aux standards artistiques européens et leur a donné accès à un nouveau métier. Elle a créé une bourse pour ses étudiantes à l’Académie et elle a essayé de constituer une association d’entraides pour les peintres-femmes. Elle a aussi fait les portraits des dirigeants Jeunes-Turcs et ceux de leur entourage. Elle a développé son plan artistique en conservant les mêmes objectifs et en s’appuyant toujours sur la même stratégie. Elle s’est servie de ses relations politiques et sociales à Istanbul, ou s’est efforcée d’en former de nouvelles lorsqu’elle se trouvait en Europe ou aux États-Unis. Elle a ainsi construit un réseau au service de sa carrière. Pour ce faire, elle a portraituré de grands hommes modernistes, même controversés, du vingtième siècle – Alphonse XIII, Benito Mussolini, Mustafa Kemal Atatürk, Franklin Delano Roosevelt, Thomas Edison. Dans une perspective féministe, mon étude établit l’importance de cette artiste cosmopolite du vingtième siècle. Je mets au jour les détails de la vie et de l’art de Rasim qui jusqu’à présent étaient méconnus. Au moyen de documents d’archives inédits, ses données élémentaires biographiques sont clarifiées. Une datation et une identification de ses sujets de portraits sont offertes. Je propose une approche innovatrice pour examiner l’art de Rasim que j’analyse par rapport à la scène artistique et culturelle turque, et mondiale. J’évalue l’impact, pour son époque et la nôtre, des gestes posés par Mihri Rasim. Ma thèse témoigne du rôle essentiel des femmes culturelles et politiques majeures, ainsi que des limites qui leur étaient, et qui leur sont encore, imposées par le système en place. / Mihri Rasim (1885-1954) is Turkey’s most important painter and feminist pioneer. The widely shared assumption about her is that she was a marginal, unclassifiable artist, who died in misery and resentful for having dedicated her life to art. Without any real information, authors and art historians obscured their ignorance by elaborating her life story out of her fascinating personality. My dissertation, which is also the first exhaustive art historical study on the artist, is dismantling this myth. Rasim was an ambitious artist and an upstart, Young Turk, who had a strategy to achieve her ambition. From the beginning of her career and for the rest of her life she pursued two goals: she expanded women’s horizon of possibilities and she aspired to be considered, in her own words, “among the talented people”. In Istanbul at a time when Turkish women could barely leave their harem, she set up the first fine arts school for women. While she was the head of women’s Academy, she introduced the first female nude classes in the history of Turkish arts. She allowed women to receive an art education comparable to European artistic standards and provided them access to a new profession. She created a scholarship for her students at the academy and tried to constitute an association of mutual help for female painters. She also made the portraits of Young-Turk leaders and of their entourage. She used her political connections in Istanbul, and, as she moved from Turkey to Europe to the United-States, she developed her artistic project with new interlocutors and in different contexts but always with the same purposes. She built a network to support her career. In order to achieve this she portrayed great modernist men of the first half of the twentieth century, even controversial ones – Alphonse XIII, Benito Mussolini, Mustafa Kemal Atatürk, Franklin Delano Roosevelt, Thomas Edison. With a feminist approach my dissertation establishes the importance of this cosmopolitan artist of the twentieth century. I am uncovering the details of her life and art, which were disregarded until today. Using original and unpublished archival materials, her elementary biographical facts are clarified. Dates for her works are submitted and identifications of her sitters are made. I propose an innovative approach to examine the painter and her artistic production not only in relation to Turkish plastic arts but also in relation to a more global artistic context. I assess the impact of her actions in her time and ours. My dissertation stands as a testament to the importance of major cultural and political women, and the limits that were and are once again placed upon them.

Le retour de l'Art mural à l'époque contemporaine" tourne autour de la problématique suivante: en quoi l'Art Mural est-il une nouvelle forme de métaphysique puisqu’elle permet à l'homme de projeter son âme sur un support et se retrouve ainsi dévoilée aux yeux de tous sous cette forme qui s’apparente à l" ekstase "soit un au dehors mis en mouvement par une "corporéité habitée" car le peintre muraliste est celui qui revendique l'esprit d'une époque et fusionne avec le mur pour créer une image, celle de l'invisible rendue visible. Le concept de « mur » sera abordé comme une pierre angulaire au travers des âges, comme support dans l’art moderne, art qui permet de faire un lien avec le passé mais surtout se démarque des arts contemporains car il sera nécessaire d’approcher les œuvres murales et le graffiti en général qui sera défini et fera l’objet d’une étude approfondie. Ainsi l’art rupestre qu’il est possible de comprendre d’après les études de Henri LHOTE, d’André LEROI-GOURHAN et de l’Abbé BREUIL pourra être mis en lumière notamment en décrivant les peintures pariétales retrouvées dans la grotte de Niaux, de Kapova, de Altamira, de Lascaux et de Chauvet qui représentent la première forme d’art humain et le commencement d’une spiritualité naissante. Le lien pourra être fait avec le symbolisme de l’Art égyptien et sa construction de l’image pour arriver à l’art décoratif des fresques de Pompéi et d’Herculanum où les graffitis de ces villes ont été étudiés par Eva CANTARELLA. De manière chronologique il sera intéressant de rappeler que le Moyen Age fut l’époque de la naissance des fresques romanes en vue de promouvoir une spiritualité qui évolue au cours des âges. Il existe aussi des techniques selon Cennino CENNINI qui explique les procédés de l’« intonaco » et de la fresque « a fresco » associés au père Ignazio POZZO. Enfin la période contemporaine fera l’objet de cette réflexion car les mouvements en peinture sont faits de liens mais surtout font rupture avec ce qui précède pour s’établir dans le temps selon l’expression de Valérie DUPONT, historienne de l’Art. / The return of Mural Art in the contemporary period” revolves round the following issue: In what way can one consider art to be a new form of metaphysics, since it allows man to project his soul on a support thus unveiling it to all in this form, which is close to a kind of “ecstasy”, i.e. an outside that is made to move through a “lived-in corporality”, for the mural painter claims the spirit of a period and merges with the wall so as to created an image – that of the invisible made visible. The “wall” concept will be examined as a foundation stone through the ages, as a support in modern art, a type of art that can create a link with the past but which especially stands out from contemporary art types, since we'll be studying mural works made by muralists as well as graffiti in general, which will be defined and studied in depth. Thus, rupestral art, which may be understood through the studies of Henri LHOTE, André LEROI-GOURHAN and Abbot BREUIL, can be explained most notably by looking at parietal paintings found in the Niaux, Kapova, Altamira, Lascaux and Chauvet caves, which represent the first form of human art and the beginning of a nascent spirituality. A link may be made to the symbolism of Egyptian art and its construction of image before reaching the decorative art of the Pompei and Herculanum frescoes – graffitis in those cities were studied by Eva CANTARELLA. It will be interesting, from a chronological point of view, to remember that the Middle Ages were the period when romanesque frescoes were born in order to further foster that age-old evolving spirituality. Such art was considered by Cennino CENNINI, who, along with father Ignazio POSSO explains the processes of “intonaco and the “a fresco” fresco. Finally, we'll have to study the modern period, since painting movements are made up of links and, more importantly, make a break with what preceded them, in order to last in time, as Valérie DUPONT, an arti historian, says.

This paper will explore the possibilities of using an automated self-made procedural tool to create real-time environments based on simple image masks. The purpose of this is to enable a concept artist or level designer to quickly get out results in a game engine and to be able to explore ideas. The goal of this thesis was to better understand how you can break down simple ideas and shapes into more complex details and assets. In the first part of this thesis, I go over the traditional workflow of creating a real-time environment. I then go on and break down my tool, what it does and how it works. I start off with a Photoshop file, make tools in Houdini and then utilize those in Unreal for the end result. I also argument about the time-saving possibilities with these tools. From the work, I draw the conclusion that these kinds of tools save a lot of time for repeating tasks and the creation of similar environments.

This dissertation considers Henri Rousseau (1844-1910) as a painter and as a figure of discourse. It addresses the longstanding concern of Rousseau’s resistance to interpretation and proposes that this derives from Rousseau’s incomplete fulfillment of the professional obligations of the artist, specifically, from his failure to motivate his work through the pursuit of what modern art critics commonly called “a problem.” Rousseau did not practice painting as artists of his day did, and because of this difference—first articulated by Guillaume Apollinaire in 1908 as an absence of artistic inquiétude—he entered the discourse of art with unprecedented susceptibility to reinvention. The Rousseau we know today, the Rousseau who was a miraculous modernist in the interwar period, and the Rousseau who emerged in the context of the avant-garde in the earliest years of the twentieth century share little besides a name, and this frustrates any effort to write a coherent history of the painter and his pictures. Rather than propose once again Rousseau’s recuperation into a traditional art-historical narrative, this dissertation tells the history of a maker who produced admirable images but fulfilled few other author-functions, and it tells the history of writers who, compensating for Rousseau’s authorial deficits, produced a new artist, a new body of work, and widespread puzzlement about the place of each in the history of modern art. / text