Made available in DSpace on 2016-04-15T23:49:18Z (GMT). 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Notorious influence is given to the reading of the urban space, a language complex that forms the image in its poetry through the subjectivity of individually learned art, from sensorial stimuli acquired in this atmosphere. Color, as the support of a formed image, and of the art expression and architecture, becomes the scope of this study, always connected to its revealing element: light. This interdependency relationship between color and light calls for an integrated study of both factors. This form of energy called light, when distributed in its tonal radiations, assumes different meanings, according to different historical, cultural, traditional or even religious backgrounds. The approach to applied color emphasizes that the chromatic result of a landscape comes from further than reason or physical aspects of color, and is also a product of variables, such as the nature of light, the visual system and emotional sense of each one. On site investigation aims to establish a relation between image typology and applied color. A reflection on perception of the atmosphere and resultant interpretations of this process, either real or mental presented through memory fosters the study of this phenomena that makes each place incorporate and identify, along with times, new thoughts. Thoughts that rise as answers to the re-creation of the captured image. Meaningful sections of the district were attentiously covered, in search of a photographic memory that would reveal a bit of this chromatic and artistic experience called Vila Madalena. And finally, quantification and qualification of studied color combinations that were the basis to build chromati Index-palettes, scientifically based on the Munsell System for color identification. / Este é um trabalho de investigação do uso das cores na arquitetura e na cidade e tem como recorte espacial o bairro paulistano de Vila Madalena devido à riqueza cromática da região. É notória a ênfase dada à leitura do espaço urbano, um complexo de linguagens que constitui a imagem pela sua poética por meio da subjetividade da arte individualmente apreendida e interpretada a partir de estímulos sensoriais adquiridos no meio. A cor como suporte da imagem formada e da expressão da arte e da arquitetura torna-se o foco deste estudo, sempre associada ao seu elemento revelador: a luz. Essa relação de interdependência entre cor e luz torna imprescindível um estudo conjunto desses fatores. Essa energia chamada, luz ao distribuir-se em suas radiações tonais, ganha significados diversos provenientes de alguma bagagem histórica, cultural, de tradições ou mesmo religiosa. A abordagem de cor aplicada enfatiza que o resultado cromático de uma paisagem provém mais do que da razão ou dos atributos físicos da cor, é também produto de variáveis como a natureza da luz, o sistema visual e o emocional de cada um. A investigação do sítio visa estabelecer uma relação entre a tipologia da imagem e a cor aplicada. Uma reflexão sobre percepção do ambiente e as interpretações decorrentes deste processo, sejam estas do real ou do mental que se apresenta pela memória instiga ao estudo desse fenômeno que faz com que cada lugar incorpore e identifique, através dos tempos, novos pensamentos. Pensamentos estes que surgem como respostas ao processo de recriação da imagem captada. Trechos significativos do bairro foram atentamente percorridos em busca de um registro fotográfico que revelasse um pouco dessa experiência cromática e artística que é a Vila Madalena. E, finalmente, a quantificação e qualificação dos matizes levantados possibilitou a elaboração de paletas-sínteses cromáticas cientificamente embasadas no Sistema Munsell de anotação de cores.

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.