Universiẗat, Diss., 2002--Kiel.

Thesis (M.A.)--University of Wisconsin--Madison, 1973. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Diss.--Kunstgeschichte--München--Ludwig-Maximilian-Universität, 1993. / Bibliogr. p. 141-157.

Zugl.: Würzburg, Univ., Diss.

Mémoire (M.A.) - Université du Québec à Trois-Rivières, 2002. / Bibliogr.: f. [86]-97.

Thesis (Ph. D.)--Ohio University, 1995. / Includes bibliographical references (leaves 215-226).

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T07:29:18Z (GMT). No. of bitstreams: 1 Accorsi_RobertoAparecidoZaniquelli_M.pdf: 7996410 bytes, checksum: 5ec8b451dc3d6a8db56e7f8da4cacddc (MD5) Previous issue date: 2011 / Resumo: Sebastiano Ricci tornou-se um pintor de especiais e particulares ações nos mercados de artes de Veneza e da Inglaterra, durante o século XVIII. Ele soube agir como artista e negociador e conseguiu relacionar-se com os principais mecenas do período, em especial com dois dos mais importantes difusores da sua arte: Joseph Smith, Cônsul inglês, e Francesco Algarotti, Conde veneziano - ambos ligados ao processo de difusão e discussão dos princípios racionais associados ao iluminismo europeu. Em cartas enviadas e recebidas pelo artista, e por alguns de seus mecenas, nota-se uma variada abordagem dos meios de compra e venda de obras e arte. As cartas também revelam uma valorização ou redescoberta dos modos e temas da arte de Paolo Veronese, reconhecíveis na obra de Sebastiano Ricci intitulada Arquimedes se recusa a seguir o soldado, pertencente a Fundação Cultural Ema Gordon Klabin, de São Paulo / Abstract: Sebastiano Ricci became a painter of special and private actions around the market of arts from Venice and England, during the XVIII century. He has known how to act as an artist and a negotiator and could relate himself with the main Maecenas of this period, especially with two of the most importants diffusers of his art: Joseph Smith,British Consul, and Francesco Algarotti,Venetian Earl - both connected with the process of propagation and discussion of the rational principles associated with the European Enlightenment. Analyzing letters that were sent and received by the artist and for some of his maecenas, is possible to realize a variety of approach about sorts of arts marketing. These letters show a recovery or a rediscovery about modes and themes of Paolo Veronese's art which can be recognized in the work of Sebastiano Ricci entitled Arquimedes se recusa a seguir o soldado, that belongs to Fundação Cultural Ema Gordon Klabin / Mestrado / Historia da Arte / Mestre em História

Uppsatsen undersöker och analyserar Julius Kronbergs plafondmålningar i förhållande till det svenska 1800-talets uppfattning om stilkategorin rokoko och vilka funktionella aspekter som kan tillskrivas målningar på platser av särskild karaktär eller offentlig utsmyckning. Undersökningen dechiffrerar 1800-talets visuella och litterära bearbetning av 1700-talets stilepok och vilka implikationer det hade på det svenska konstlivet, där särskilda egenskaper och epitet tillräknas rokokon och på vilket sätt det återspeglas i Julius Kronbergs målningar. Uppsatsen tar även fasta på platserna där plafonderna befinner sig, för att analysera de som något mer än estetiska utsagor, med hjälp av de operativa begreppen plats och funktion, där den teoretiska grunden främst återfinns i Gregor Paulssons “konstens sociala dimension”. Den avslutande diskussionen resonerar kring den mångfacetterade adaptionen av 1700-talets visuella kultur som intresset för rokokon utmynnade i, där 1800-talets förankring i perioden främst bestod av romantisk nostalgi och poetisk fiktion snarare än egna upplevelser, där Julius Kronbergs målningar blev ett sätt att knyta an perioden genom en svensk kontext. Plafonderna verkar även på platser som besitter förmågan att formulera funktionella aspekter, målningarna förstärker, förändrar och artikulerar dem. Där en förening mellan uppfattningen om rokokon och plafondernas funktionella aspekter, har uppenbarats.

ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...