Notre étude porte sur la présence des artistes grecs(peintres, sculpteurs, graveurs) aux manifestations universelles et internationales qui se sont déroulées dans de différentes villes européennes, durant les quarante premières années du XXe siècle.Effectuée principalement aux catalogues officiels des expositions traitées, notre recherche a essayé d’appréhender l’activité artistique des hellènes, en la situant dans un contexte culturel international(expositions universelles et/ou internationales) et dans un cadre chronologique précis (1901-1939) ; pour ce faire, nous avons tenu compte des divers paramètres sociaux, politiques et intellectuels, qui ont régi deux réalités historiques et géographiques : d’un côté la Grèce, un état jeune dans toutes ses manifestations, et de l’autre côté l’Europe de la Grande Guerre, du progrès industriel et des avant-gardes. / Our study focuses on the presence of Greek artists(painters, sculptors, engravers) in the universal and international exhibitions, that took place in various European cities during the first forty years of the 20th century.Our research, which was principally carried out in the official catalogues of the presentations in question, attempted the approach and in-depth comprehension of the artistic activity of the Greeks, placed in an international cultural context(universal and international exhibitions in Europe) and in a specific chronological frame(1901-1939). For this to be achieved, we took into consideration the diverse social, political and cultural parameters that ruled two different realities; on the one hand, Greece, a “young” country in all it’s manifestations and on the other hand, Europe of the Great War, industrial progress and the “avant-garde”.

Plus que d’autres types de grands évènements, les expositions internationales et universelles contribuent à changer le visage des villes organisatrices. Résolument comparative, cette analyse se propose de travailler sur trois expositions ayant eu lieu ces dernières décennies dans la péninsule ibérique. Les exemples de Séville, Lisbonne et Saragosse, villes de taille comparable et de contraintes similaires permettent de mieux évaluer les impacts de cette catégorie de grand évènement à la fois aux échelles métropolitaine, régionale et nationale. Au-delà de cet apport, l’objectif est également de dégager des éléments permettant d’analyser les bénéfices et les limites de ce type de grand évènement atour de quatre principaux items : l’impact urbain, l’impact économique, l’impact en termes d’image et l’impact sur les acteurs. Cette thèse vise à comprendre ce que ces expositions récentes ont apporté à ces villes, à la fois sur le court et le long terme, en analysant successivement les temps de la projection, de la réalisation et de la reconversion des sites d’exposition Ce travail démontre ainsi que les expositions, au-delà des réflexions postulant pour leur déclin progressif et inexorable, sont en fait de véritables accélérateurs du développement urbain et du processus de métropolisation. Mieux préparées et utilisées, elles pourraient donc être appelées aujourd’hui plus qu’hier encore à transformer les villes, notamment pour leur permettre de se mettre en cohérence avec les critères d’un développement métropolitain plus durable. / More than other major events, universal and international exhibitions contribute to revamp host cities. Associated to a comparative method, this analysis intends to study the three exhibitions which took place those ultimate decades in the Iberian peninsula. The examples of Sevilla, Lisbon and Saragossa, comparable towns with similar issues allow to evaluate the impacts of this kind of major events considering the metropolitan, regional and national scales. Beyond this contribution, the goal is to underline the elements that allow to analyse the benefits and the limits of that type of major events given four principal elements: urban impact, economical impact, representative impact and social impact. This thesis aims at understanding the exhibition’s contribution to those towns, on a medium and a long term, considering the time of projection, realization and reconversion of exhibitions spots.This work also demonstrates that exhibitions, beyond the assumption of a progressive and inexorable decline, are real boosters for urban development and metropolisation process. Better prepared and used, exhibitions could be involved now more than ever in cities’ transformation, particularly to respect the criteria of a more sustainable metropolitan development.

Made available in DSpace on 2016-03-15T19:44:15Z (GMT). No. of bitstreams: 1 Patricia Helena Soares Fonseca Rossi de Resende.pdf: 62523943 bytes, checksum: 784ac7497ee4509b2c9a1c082a463213 (MD5) Previous issue date: 2014-02-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation studies the fashion system development and its relationships with the art field. It analyses how the modern fashion system structure was founded by the Universal Exhibitions and the first department stores. It also shows how the fashion designers Charles Fréderic Worth e Paul Poiret built their artistic images, and states that these relationships were used to give an art status for their work. This research also verifies how the interdisciplinary practices of both Worth and Poiret established standards for the referred practices in contemporary fashion; it analyses the interdisciplinary dialogues present in fashion exhibitions located in art museums. It also considers the Arhem Mode Biennale and its connections with the fashion system and it concludes pointing out the importance of fashion exhibitions for the renewal and perpetuation of the fashion system. / Aborda a evolução do sistema de moda e sua relação com a arte. Analisa o surgimento das primeiras lojas de departamentos a partir da implementação das exposições universais e como ambas fundaram a estrutura do sistema de moda moderno. Demonstra como os estilistas Charles Fréderic Worth e Paul Poiret moldaram suas imagens de grandes criadores a partir da relação com a arte e seus atores, e argumenta como essas relações foram utilizadas para dotar seu trabalho comercial da distinção e status do objeto artístico. Verifica como as práticas interdisciplinares de Worth e Poiret estabeleceram parâmetros para as transferências de linguagens entre arte moda na contemporaneidade. Analisa essas transferências interdisciplinares a partir da instalação de mostras de moda em museus, nas últimas décadas do século XX. Aponta como essas mostras levantaram discussões das fronteiras ontológicas entre moda e arte. Finaliza com uma análise sobre as bienais de Moda de Arnhem e suas relações com a arte e o mercado de moda. Conclui estabelecendo a importância das mostras de moda para a renovação e perpetuação do sistema e do mercado de moda.