Le sujet de cette thèse concerne les musées, la plus ancienne et la première institution culturelle en France. En choisissant de prendre l'exemple du Sud-Est, il s’agira de démontrer que les hommes politiques et les hommes de culture, localement et à l’instar du niveau national, ont pris conscience, dès la période révolutionnaire, du besoin de protéger les biens culturels en créant des institutions muséales. Ce sont donc les rapports complexes entre art, société et politique que nous tenterons de retracer. Nous ferons ressortir le particularisme culturel régional. / The subject of this thesis concerns museums, the oldest and the first cultural institution in France. By choosing to take the example of the South-East, it will be a question of culture, locally and following the example of the national level, became aware, from the revolutionary period, of the need to protect cultural property by creating museum institutions. It is thus the complex relationships between art, society and policy which we shall try to redraw. We shall highlight the regional cultural sense of identity.

Copyright Aspects of International Trade in Works of Art My thesis deals with copyright aspects of international trade in works of art. I decided to elaborate the theme due to my interest in the study of copyright and the international art market. The issue is explored mainly through overview of the relevant international, EU and Czech legislation. The work is introduced by historical development of the copyright and excursus to the development of international trade in works of art. This study aims at analysing of the copyright aspects of international trade, not international trade law and private international law, even they affect the copyright aspects of international trade undoubtedly and both are crucial for this field. But if necessary, in spite of its copyright focus my thesis interferes in this area too. Breakdown of my work is based on a systematic examination of the issue described. First, I focused on copyright aspects of the theme relevant to the overall focus of the work, i.e. the path to recognition of copyright, its different concept in the continental and the Anglo-American law system and the beginnings of its embedding. Then I focused on the international trade in works of art, from the most general basis pertain to its development and specifics, complemented an overview of the...

Thesis (Ph. D.)--University of Oklahoma, 1993. / Includes bibliographical references (leaves 220-242).

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The aim of this thesis is to evaluate certain artistic pieces with motives of Italian Theatre of Renaissance. Further, this work discusses the literature dedicated to this topic in the framework of Czech and foreign history of art and theatre. In this regard, attention is drawn to analysis and the interpretation of particular pieces of an art from the formal and iconographic perspectives. The introduction is concerned with the key historical aspects and personalities of the Commedia dell'arte in connection with chosen pieces of art. Based on provided facts, this thesis comes to an acquired evaluation and comparisons of motives with the character of theatre performance.

As fotografias de obras de arte, objeto empírico desta pesquisa, proveem condições para a realização do registro de um conjunto de informações visuais e sua consequente institucionalização. Com base neste objeto empírico, procurou-se identificar quais os desafios presentes na criação e na manutenção de acervos de fotografias de obras de arte em ambiente eletrônico, considerando-se as necessidades de informação dos usuários especializados. Para estudar estes desafios, a pesquisa teve como objetivo realizar um estudo exploratório, que diz respeito às particularidades associadas à criação e à manutenção de acervos de fotografias de obras de arte em ambiente eletrônico. A partir da revisão de literatura foi possível identificar, de antemão, que o problema não está na tecnologia, ou seja, no uso do melhor software, mas sim no processo de criação e manutenção dos acervos de fotografias de obras de arte. Para entender como este processo se desenvolve, foi necessário o estudo das características do acervo de fotografias de obras de arte de um Serviço de Informação cuja instituição possui cursos na área de Artes Visuais, assim como o estudo do comportamento informacional dos potenciais usuários desse acervo. Para o estudo de caso, foram utilizados os seguintes instrumentos de coleta de dados: observação direta não estruturada, entrevista não estruturada e questionário. Pode-se perceber que as fotografias de obras de arte são utilizadas para atividades didáticas, e que as bases de dados on-line representam uma solução apropriada à demanda por fotografias; os usuários realizam pesquisas semanais de fotografias; os tipos de fotografias mais procurados são de pintura e de desenhos; e os respondentes utilizam as fotografias para pesquisa em criação artística e em arte teórica. Mas, para a criação e a manutenção da base de dados, alguns desafios precisam ser superados, como, por exemplo, a definição de critérios referentes às características técnicas e de conteúdo das fotografias, e questões de direitos autorais. Dentre todos os desafios, o de maior destaque diz respeito à identificação das necessidades de informação visual dos usuários especializados e como as fotografias das obras de arte serão utilizadas nas atividades didáticas. No caso da instituição estudada, a principal solicitação foi a inclusão no acervo das fotografias dos trabalhos artísticos dos artistas da própria instituição. O estudo confirmou que os usuários não querem um acervo que seja mera duplicação dos conteúdos de museus, galerias ou de outros serviços de informação. Assim, foi possível constatar a importância da realização, com maior frequência, de estudos de uso e usuários de fotografias de obras de arte; que a adoção de uma política de seleção e desenvolvimento de coleções de fotografias de obras de arte, impressa ou digital, é indispensável; e que para a criação de uma base de dados on-line a adoção de padrões de metadados e questões de interoperabilidade são indispensáveis, mas dependem de estudos e reflexões, como os desafios apontados neste trabalho. / Photographs of works of art, which constitute the empirical object of this research, make possible the existence of a collection of visual information and its consequent institutionalization. Based on this empirical object, we have tried to identify the challenges related to the creation and maintenance of collections of photographs of works of art in an electronic environment, considering the informational needs of specialized users. In order to deal with these challenges, we aimed at doing an exploratory study regarding the particularities of the creation and maintenance of collections of photographs of works of art in an electronic environment. Starting with the review of the existing literature, it was possible to identify beforehand that the problem is not technological indeed, i.e., it is not about the use of the best software, but it lies instead in the process of creation and maintenance of collections of photographs of works of art. In order to understand this process, it was necessary to study the characteristics of the collection of photographs of works of art of the information service of an institution which offers courses in the field of Visual Arts, as well as the informational behaviour of the potential users of this collection. For this case study, the following data collection techniques were used: unstructured direct observation, unstructured interview and a questionnaire. It was possible to observe: the photographs of works of art are used for educational ends, and online databases constitute an appropriate solution to the demand for photographs; users do weekly research for photographs; the kinds of photographs most sought after are those of paintings and drawings; informants use the photographs for research in artistic creation and in theoretical art. Still, for the creation and maintenance of the database, some challenges need to be overcome, such as the definition of criteria regarding the technical characteristics of the photographs and their content, as well as issues of copyright. Among these challenges, the one that stands out concerns the identification of the visual information needs of specialized users, and of how the photographs of works of art will be used in the educational activities. In the case of the institution where this study was conducted, the main request was the inclusion, in its collection, of photographs of works of art produced by the artists of the institution. The study confirmed that users do not want a collection that is nothing but the mirroring of the collections of museums, galleries, or other information services. It was also possible to observe: how important it is to carry out studies about the use and the users of photographs of works of art, on a more regular basis; the adoption of a policy for the selection and development of collections of physical or digital photographs of works of art is indispensable; and, for the creation of an online database, the adoption of metadata standards and the considering of issues of interoperability are essential, but these measures depend on studies and reflections, such as those indicated in this work.

As fotografias de obras de arte, objeto empírico desta pesquisa, proveem condições para a realização do registro de um conjunto de informações visuais e sua consequente institucionalização. Com base neste objeto empírico, procurou-se identificar quais os desafios presentes na criação e na manutenção de acervos de fotografias de obras de arte em ambiente eletrônico, considerando-se as necessidades de informação dos usuários especializados. Para estudar estes desafios, a pesquisa teve como objetivo realizar um estudo exploratório, que diz respeito às particularidades associadas à criação e à manutenção de acervos de fotografias de obras de arte em ambiente eletrônico. A partir da revisão de literatura foi possível identificar, de antemão, que o problema não está na tecnologia, ou seja, no uso do melhor software, mas sim no processo de criação e manutenção dos acervos de fotografias de obras de arte. Para entender como este processo se desenvolve, foi necessário o estudo das características do acervo de fotografias de obras de arte de um Serviço de Informação cuja instituição possui cursos na área de Artes Visuais, assim como o estudo do comportamento informacional dos potenciais usuários desse acervo. Para o estudo de caso, foram utilizados os seguintes instrumentos de coleta de dados: observação direta não estruturada, entrevista não estruturada e questionário. Pode-se perceber que as fotografias de obras de arte são utilizadas para atividades didáticas, e que as bases de dados on-line representam uma solução apropriada à demanda por fotografias; os usuários realizam pesquisas semanais de fotografias; os tipos de fotografias mais procurados são de pintura e de desenhos; e os respondentes utilizam as fotografias para pesquisa em criação artística e em arte teórica. Mas, para a criação e a manutenção da base de dados, alguns desafios precisam ser superados, como, por exemplo, a definição de critérios referentes às características técnicas e de conteúdo das fotografias, e questões de direitos autorais. Dentre todos os desafios, o de maior destaque diz respeito à identificação das necessidades de informação visual dos usuários especializados e como as fotografias das obras de arte serão utilizadas nas atividades didáticas. No caso da instituição estudada, a principal solicitação foi a inclusão no acervo das fotografias dos trabalhos artísticos dos artistas da própria instituição. O estudo confirmou que os usuários não querem um acervo que seja mera duplicação dos conteúdos de museus, galerias ou de outros serviços de informação. Assim, foi possível constatar a importância da realização, com maior frequência, de estudos de uso e usuários de fotografias de obras de arte; que a adoção de uma política de seleção e desenvolvimento de coleções de fotografias de obras de arte, impressa ou digital, é indispensável; e que para a criação de uma base de dados on-line a adoção de padrões de metadados e questões de interoperabilidade são indispensáveis, mas dependem de estudos e reflexões, como os desafios apontados neste trabalho. / Photographs of works of art, which constitute the empirical object of this research, make possible the existence of a collection of visual information and its consequent institutionalization. Based on this empirical object, we have tried to identify the challenges related to the creation and maintenance of collections of photographs of works of art in an electronic environment, considering the informational needs of specialized users. In order to deal with these challenges, we aimed at doing an exploratory study regarding the particularities of the creation and maintenance of collections of photographs of works of art in an electronic environment. Starting with the review of the existing literature, it was possible to identify beforehand that the problem is not technological indeed, i.e., it is not about the use of the best software, but it lies instead in the process of creation and maintenance of collections of photographs of works of art. In order to understand this process, it was necessary to study the characteristics of the collection of photographs of works of art of the information service of an institution which offers courses in the field of Visual Arts, as well as the informational behaviour of the potential users of this collection. For this case study, the following data collection techniques were used: unstructured direct observation, unstructured interview and a questionnaire. It was possible to observe: the photographs of works of art are used for educational ends, and online databases constitute an appropriate solution to the demand for photographs; users do weekly research for photographs; the kinds of photographs most sought after are those of paintings and drawings; informants use the photographs for research in artistic creation and in theoretical art. Still, for the creation and maintenance of the database, some challenges need to be overcome, such as the definition of criteria regarding the technical characteristics of the photographs and their content, as well as issues of copyright. Among these challenges, the one that stands out concerns the identification of the visual information needs of specialized users, and of how the photographs of works of art will be used in the educational activities. In the case of the institution where this study was conducted, the main request was the inclusion, in its collection, of photographs of works of art produced by the artists of the institution. The study confirmed that users do not want a collection that is nothing but the mirroring of the collections of museums, galleries, or other information services. It was also possible to observe: how important it is to carry out studies about the use and the users of photographs of works of art, on a more regular basis; the adoption of a policy for the selection and development of collections of physical or digital photographs of works of art is indispensable; and, for the creation of an online database, the adoption of metadata standards and the considering of issues of interoperability are essential, but these measures depend on studies and reflections, such as those indicated in this work.

Si la fascination incitée par l'art se montre incontestable, son autonomie en tant que sphère de la vie sociale, qui existe par lui-même et en lui-même ne se confirme pas. Selon de nombreux sociologues, l'art, comme toutes les activités humaines, se construit socialement et ne se présente pas exclusivement liée à des éléments essentiellement esthétiques. Dans cette perspective, des artistes, des experts en général, commissaires-priseurs et les acheteurs jouent leur rôle sur le marché de l’art visuel. Le but de ma recherche doctorale est d'analyser le marché de l’art contemporain à Rio de Janeiro et São Paulo entre 2010 et 2013. Grâce à ce circuit de production et de circulation d’oeuvres d’art, nous allons analyser l'insertion, l'influence de ces parties prenantes exercent sur le monde de l’art contemporain et la relation qu’ils cultivent entre eux. En outre, nous allons explorer les similitudes et les différences entre le marché de l'art dans les deux plus grandes villes du Brésil et d'autres villes à l'étranger, en particulier le marché de l'art à Paris. / The writing of Clarice Lispector is inhabited by a deep tension to rapture. This term, which may correspond to the Brazilian words êxtase, enlevo, is not common in the lexicon of Lispector; however, we chose to build a question observing the multiple occurrences of ecstatic figures which belong to her work. First, the rapture unfolds as a fracture in the temporality plan: it tears the opacity of the daily life, exposing the female protagonists of Lispector’s stories and novels to a different order of meaning and of reality, placing them outside the scope of understanding. The tension triggered by this rupture, the (des)encontro, leads the speech into a space that is, in Lispector’s terms, behind the thought. This work explores the possibility of addressing some of Clarice Lispector’s texts to highlight the range and depth of the tension which characterizes rapture, pursuing the highly non-thinking power of the writing of Clarice Lispector: its hieroglyphic character. In this perspective, the work of the Brazilian writer can be (re)thought as a struggle toward the not knowing, to which the writer refers in her text Água Viva (1973) as « thought behind the thought ».

La thèse Les achats d’objets d’art français par la Cour de Russie, 1881-1917, consacrée à un nouvel aspect des relations franco-russes, pose un regard bilatéral sur les arts décoratifs français et russes, dont elle étudie le goût au cœur d’interactions politiques, commerciales et artistiques. Le contexte favorable dans lequel s’effectuent ces achats sous les règnes d’Alexandre III et de Nicolas II repose sur l’ancienneté des relations franco-russes, reconnues pour leur richesse au XVIIIe siècle et au début du XIXe siècle. Il se manifeste par le développement des exportations des produits de l’industrie française d’art et de luxe en Russie depuis le Second Empire, d’autant plus facilitées par la conclusion de l’Alliance franco-russe. Ainsi favorisés, les fournisseurs de l’objet d’art français en Russie, appartenant à des industries variées – mobilier, bronze, textile, orfèvrerie, céramique, verrerie, bijouterie et joaillerie – bénéficient des séjours répétés de la clientèle russe en France. Fournisseurs et différents intermédiaires en profitent pour développer leurs relations avec le marché russe et y renforcent le succès de l’objet d’art français, dont les modèles ont une certaine influence en Russie.De l’empereur au grand bourgeois, les clients russes, reflet de l’évolution sociale du pays accumulaient les achats dans leurs résidences et affirmaient ainsi, par le goût du fabriqué en France, leur appartenance à une élite européenne. L’étude des collections russes d’objets d’art français, dispersées à la Révolution, permet de cerner un aspect de l’histoire du goût et témoigne du rayonnement international de l’art décoratif français. / The thesis The purchases of French “objets d’art” by the Russian Court, 1881-1917, dedicated to a new aspect of French-Russian relationships, gives a dual view on the French and Russian decorative arts and studies them in the context of political, commercial and artistic interactions.The favorable context of these purchases, during the reigns of Alexander III and of Nicolas II, is based on the historical French-Russian relations, very developed in the XVIIIth century and at the beginning of the XIXth century. This context results in an increased of export of French “objets d’art” in Russia since the Second Empire, facilitated by the new French-Russian Alliance.The suppliers of the French “objets d’art” in Russia, belonging to the various French Art and Luxury industries – furniture, bronze, textile, silver, ceramic, glassware and jewellery – benefit from repeated stays of Russian customers in France. Consequently, suppliers and various partners develop their relations with the Russian market and strengthen the success of the French “objets d’art”, which were used as a model in Russia.From the emperor to the “grand bourgeois”, the Russian clients, who illustrate the social evolution of the country, collected their purchases in their residences and showed, by their taste for the made in France objects, that they belonged to the European elite. The study of the Russian collections of French “objets d’art”, dispersed during the Revolution, illustrates an aspect of the history of taste and shows the international success of the French decorative arts.

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