Aldo Crommelynck (1931-2008) a animé l'atelier Crommelynck à Paris de 1956 à 1986, en compagnie de son frère Piero, puis a travaillé seul entre Paris et New York en partenariat avec Pace Editions, jusqu'en 1998. Sa collaboration avec les peintres modernes, dont Picasso à Mougins, a inauguré une carrière internationale auprès d'une quarantaine d'artistes contemporains. Sa maîtrise de l'eau-forte s'est intégrée au milieu artistique international, entre Paris, Londres et New York, dans un contexte profitable au marché de l'art. Son nom est associé à un mouvement de retour à la taille­douce qui coïncide avec le goût des artistes issus du Pop pour le travail de la main et pour la figuration du quotidien. D'autres, issus du minimalisme et du néo-expressionnisme, verront en lui le dépositaire d'un certain métier de la gravure identifié à Paris. Cette thèse entend déterminer ce que fut le «style Crommelynck», dans toutes ses dimensions. / Aldo Crommelynck (1931-2008) run the Crommelynck studio, in Paris from 1956 to 1986, with his brother Piero, and then worked alone between Paris and New York in partnership with Pace Editions until 1998. His collaboration with modem painters, including Picasso in Mougins, preceded his international career with forty or so contemporary artists. His mastery of etching well integrated into the artistic world of Paris, London and New York, in a context profitable to the art market. His name is associated with the revival of printmaking in the United States that coincided with the taste of the artists coming from Pop Art for handmade creation and for the representation of daily life. Others, who came afterwards, impregnated with Minimalism or Neo-expressionism, saw him as the repository of a certain etching craft identified with Paris. This thesis intends to determine what was the « Crommerlynck style » in all its dimensions.

L’œuvre plurielle de Max Schoendorff (1934-2012) est approchée au regard du lieu de sa création : l’atelier de l’artiste. Ce lieu foisonnant de matériel, d’images, d’objets et de livres est emblématique de sa pensée. Il livre les traces de ses multiples activités. La monographie de l’artiste est fondée sur l’archéologie de ce laboratoire. Formé à la littérature classique,imprégné de culture allemande, rompu à la transgression, Schoendorff s’engage dès le milieu des années 1950 à Lyon aux côtés de Roger Planchon et d’un petit groupe d’intellectuels et de créateurs. Il s’affirme en tant qu’initiateur d’une décentralisation de la culture. Il trouve ensuite dans la peinture matière à se forger son propre langage, nourri de l’imaginairesurréaliste, de Max Ernst, des tourments métamorphiques d’une matière essentiellement organique. Sa pensée singulière s’exprime dans une œuvre protéiforme qui traverse les champs de la peinture, de la gravure, du livre et de la scénographie de spectacle. Libertaire et utopiste quant à ses convictions sociales et politiques, il s’engage en fondant la MAPRA, Maison des arts plastiques Rhône-Alpes, et l’URDLA, Centre international estampe et livre à Villeurbanne. / The study of MS’s multivocal work is carried out through an on-site investigation of his workshop. The place, which reflects his philosophy, is full of materials, images, objects, and books. It bears testimony to his numerous activities. Indeed writing a monograph of the artist amounts to performing archeological fieldwork and excavation in his studio. Schoendorff studied classical literature, was well-versed on the subject of German culture, and enjoyed transgressing boundaries. As early as 1950, he was labelled as a committed artist together with RP and a small group of intellectuals and creators/designers from Lyon. Heconsidered himself as the initiator of cultural decentralization. He later devoted himself to painting and managed to create his own artistic language based on the surrealist imaginary world, Max Ernst’s production, and the metamorphic alteration of predominantly organic matter. His personal conception of art is expressed in his protean works which include paintings, engravings, books, and spectatorial scenography. A socio-political libertarian and utopian, he founded the MAPRA (Maison des arts plastiques Rhône-Alpes), the R-A Fine Arts Agency and the URDLA, the International Book and Lithography Centre (Centreinternational estampe et livre) in Villeurbanne.

Building on recent scholarship in the history of art which has started to reappraise the meaning of grotesque and scatological motifs, this thesis examines how digestion was conceived of as a model of creation, and how this was translated visually. Renaissance creativity was increasingly modelled on a series of natural processes like digestion, following a trend in favour of Aristotelian psychology. However, it has been largely overlooked in comparison to the bleeding, the pneumatic, and especially the procreative natural models, which have been extensively studied. The central argument of this thesis is that digestion constituted an alternative-albeit less 'decorous'-model of creation, denoting the intervention of a more 'earthbound' ingenium. I argue that this model was used by certain classes of artists as an acknowledgement of a strong engagement with materials and of the labour of a round-the-clock imagination. Goldsmithing and printmaking are artistic professions whereby the artistic process was often considered as an act of 'soiling' oneself, both in the sense of the body and the phantasia. This thesis focuses on a period spanning c. 1530 to 1675, from Rabelais' works to the facetious printer Jacques Lagniet. It mines a corpus of little-studied textual and visual sources from the north of the Alps, examining a continuity between France and the German lands: geographical areas which both had an especially pronounced 'culture of excretion'. From a broader perspective, this research responds to a widespread scholarly call for more attention to the organic soul and the lower body, nuancing the alleged hegemony of the brain and the higher senses throughout history. It seeks to modify the perception of early modern artists and viewers as cerebral intellectuals, presenting them as individuals who also 'thought with their guts'.

Made available in DSpace on 2016-04-26T18:18:19Z (GMT). No. of bitstreams: 1 Regiane A Caire da Silva.pdf: 7043891 bytes, checksum: 0cd431ad47ae148afdb81f2bfd2c0fa4 (MD5) Previous issue date: 2009-10-19 / The dissertation will discuss some issues around the preservation and access to documents containing information about the process of artistic creation of the artist and engraver Renina Katz. This essay will also propose an archive system of all the materials studied for the purpose of this research. The body of the research/The research will study Renina Katz s lithographic prints, which are placed at the studio Ymagos & Glatt, where the artist has been creating and printing her pictures since the 70s till date. The first chapter presents theories and ways used to create procedures for the elaboration of archives The documents regarding Renina Katz s artistic creation will be studied in light of the theories reviewed in this chapter. Moreover, an archive system for these documents will be proposed. The documents studied are located at the Arquivo Publico Estadual de Sao Paulo. It is the governmental legal body responsible for the custody of these documents. The second chapter focuses on the Ymagos gallery as a physic and productive space, the techniques used by Renina s pictures and description of the documents found in the process of creation of the artist. The third chapter is a theoretical-critical monitoring, with reasons in criticism of the basic process of semiotic peirceana line, the process of creating Renina Katz based on documents found. It examines the material and makes the actions that are inter-linked in a network, aiming to understand the mechanisms of creation of the artist, highlighting the action and movement that involves her artistic creation. This chapter includes the proposal of archive of the object searched under the flowchart form. The dissertation s objective is to argue, under the point of view of the communicational relations, how to offer public access to the data of digital archives of creation, proposing a way of making this data available on the Internet / A dissertação pretende discutir a questão da preservação e do acesso às informações contidas nos documentos do processo de criação artística da artista plástica e gravadora Renina Katz. A pesquisa apresenta também uma proposta de arquivamento do material estudado. O corpus da pesquisa são as gravuras litográficas da gravadora Renina Katz que estão disponibilizadas na editora/atelier Glatt&Ymagos, local onde a artista criou e imprimiu suas gravuras desde os anos 70 até hoje. O primeiro capítulo apresenta teorias e meios utilizados para criar procedimentos para a elaboração de arquivos, relacionar esse conhecimento com os documentos encontrados no processo de criação da artista, propondo o arquivo dos mesmos. A referência estudada é o Arquivo Público Estadual de São Paulo como organismo físico de guarda de documentos. O segundo capítulo enfoca o atelier Ymagos como espaço físico e produtivo, as técnicas de gravuras usadas por Renina e a descrição dos documentos encontrados do processo de criação da artista. O terceiro capítulo faz um acompanhamento teórico-crítico, com fundamentação na crítica de processo de base semiótica de linha peirceana, do processo de criação de Renina Katz a partir de documentos encontrados. Analisa o material e formula as ações que se inter-relacionam em rede, com o objetivo de compreender os mecanismos da criação da artista, pondo em evidência a ação e o movimento que envolve seu gesto criador. Este capítulo inclui a proposta de arquivo do objeto pesquisado sob a forma de fluxograma. A dissertação tem como objetivo discutir, sob o ponto de vista das relações comunicacionais, como oferecer acesso público aos dados de arquivos digitais de criação, ao propor uma forma disponibilizá-los pela internet

"Image and Text" focuses on the consequences of multi-media interaction on the concept of a work's meaning(s) in three distinct publishing trends in nineteenth-century Britain: graphic satire, the literary annuals, and book illustration. The graphic satire of engravers James Gillray and George Cruikshank is replete with textual components that rely on the interaction of media for the overall satirical impact. Literary annuals combine engravings with the ekphrastic poetry of writers including William Wordsworth, Samuel Taylor Coleridge, Robert Southey, and Letitia Elizabeth Landon. Book illustrations provided writers Sir Walter Scott and Alfred, Lord Tennyson a means to recycle previously published works as "new" texts; the engravings promote an illusion of textual originality and reality by imparting visual meanings onto the text. In turn, the close proximity of text to image changes visual meanings by making the images susceptible to textual meanings. Many of the theoretical implications resulting from the pairing of media resound in modern film adaptations, which often provide commentary about nineteenth-century visual culture and the self-reflexivity of media. The critical heritage that has responded to the pairing of media in nineteenth-century print culture often expresses uneasiness with the relationship between text and mechanically produced images, and this uneasiness has often resulted in the treatment of text and image as separate components of multi-media works. "Image and Text" recovers the dialogue between media in nineteenth-century print forms often overlooked in critical commentary that favors the study of an elusive and sometimes fictional concept of an original work; each chapter acknowledges the collaborative nature of the production of multi-media works and their ability to promote textual newness, originality (or the illusion of originality), and (un)reality. Multi-media works challenge critical conventions regarding artistic and authorial originality, and they enter into battles over fidelity of meaning. By recognizing multi-media works as part of a diverse genre it becomes possible to expand critical dialogue about such works past fidelity studies. Text and image cannot faithfully represent the other; what they can do is engage in dialogue: with each other, with their historical and cultural moments, and with their successors and predecessors.

Notre thèse interroge les formes et les enjeux des représentations de la douleur au XVIIIe siècle dans les arts graphiques, les dessins et les gravures revêtant à la fois un caractère d’expérimentation et d’indice dans la diffusion des thèmes. L’étude tient compte des conventions, des débats et des codifications dont elles faisaient alors l’objet dans le domaine esthétique, médical, social et politique. À l’heure où l’on estime que la douleur doit s’effacer, il nous paraît important d’évaluer ses occurrences et ses mises en scène passées. À cet égard, les arts figurés de la seconde moitié du XVIIIe siècle offrent, en France, un champ d’étude remarquable. Les débats esthétiques autour du groupe sculpté du Laocoon et du voile dit « de Timanthe », mais aussi, sur le plan médical, les interrogations à propos de la persistance de la douleur chez les suppliciés par décollation, témoignent de cet intérêt. / This study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time.

Au début du XVIè siècle, le territoire germanique apparaît comme le foyer de réception non seulement le plus important mais aussi le plus fécond des estampes du peintre italien Andrea Mantegna (1431-1506). De Dürer à Peter Vischer à Nuremberg, de l’atelier d’Ulrich Apt à celui de Jörg Breu l’Ancien à Augsbourg, d’Hans Baldung Grien à Matthias Grünewald dans les régions rhénanes, d’Urs Graf à Jörg Schweiger en Suisse, de l’atelier d’Altdorfer implanté à Ratisbonne à celui de Wolf Huber situé à Passau : tous les centres artistiques et humanistes du monde germanophone sont concernés. Inscrite dans la problématique des transferts culturels, cette thèse vise à montrer, par une approche résolument pluridisciplinaire, que la réception des modèles gravés italiens en Allemagne ne se borne pas aux emprunts formels et stylistiques, mais s’intègre dans une réflexion sur l’émulation, qui tient compte des spécificités à la fois historiques et culturelles du Saint Empire Romain germanique / During the early 16th century the German territory was not only the most important but also the most fruitful center for the circulation of Italian painter Andrea Mantegna's (1431 - 1506) prints. From Dürer to Peter Vischer in Nuremberg, from Ulrich Apt's workshop to Jörg Breu the Elder in Augsbourg, from Hans Baldung Grien to Matthias Grünewald in Alsace, from Urs Graf to Jörg Schweiger in Switzerland, Altdorfer's workshop, located in Regensburg to Wolf Huber's in Passau. Basically all artistic and humanist centers in the German-speaking world were concerned. This thesis takes as its primary object the problematic of cultural transfers and aims at showing, through a multidisciplinary approach, that the German reception of Italian engravings is not only limited to formal and stylistics aspects but it is integrated in a reflection regarding the emulation, which will take into account both historical and cultural particularities of the German Sacred Roman Empire

Les archives documentaires du dentiste luxembourgeois Dr. Ernest Schneider (1885-<p>1954) constituent la base du présent travail. Ce fonds a été abordé par les sciences historiques<p>et sociales dans la première et par la discipline de l'archéologie rupestre dans<p>la seconde partie. Ces archives sont uniques au Grand-Duché dans le sens qu'il s'agit du<p>seul fonds archéologique contenant des documents épistolaires et iconographiques au lieu<p>d'artéfacts provenant de prospections. Dans un premier temps, le fonds épistolaires a été<p>abordé par une analyse de réseaux. Cette approche a permis de déterminer qu'il s'agit<p>d'un registre de contacts constitué par Schneider plutôt que d'un réseau au sens propre.<p>Schneider ne montre en effet aucune volonté à soigner ses contacts établis. Les réseaux de<p>ses alteri forment finalement la source d'informations la plus importante de Schneider :<p>ses contacts entament des recherches par eux-mêmes et dans leurs cercles de connaissances<p>afin de trouver des réponses aux requêtes du dentiste.<p>La seconde partie est consacré au travail archéologique effectué par Schneider de 1927<p>à 1954. Plus précisément les résultats publiés par Schneider en 1939 dans la monographie<p>Material zu einer archäologischen Felskunde des Luxemburger Landes sont revus et mis<p>à jour. Dans cette partie, le contenu des archives épistolaires est utilisé afin de suivre le<p>raisonnement scientifique de Schneider et afin de déterminer quelles hypothèses de quels<p>contacts sont intégrées par Schneider dans la monographie. L'influence des correspondants,<p>surtout des préhistoriens, est clairement déterminée dans cette partie, car Schneider attribue<p>la totalité des gravures aux temps pré- et protohistoriques. Lui-même qualifie son<p>travail de synthèse de la Pré- et Protohistoire du Grand-Duché de Luxembourg. Cette<p>hypothèse de datation est réfutée dans le présent travail. En effet, tenant compte du support<p>et de la nature des tracés gravés, les gravures figuratives ne datent pas d'au-delà de<p>l'époque médiévale tardive. La majorité des gravures ont très probablement été réalisées<p>entre le 19e et le 21e siècle, surtout lors des deux guerres mondiales lorsque les soldats<p>ennemis et alliés étaient stationnés dans les contrées de la région du Grès de Luxembourg. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

The aim of this thesis is to illustrate the phenomenon of the transfer of the transalpine landscape motifs in graphic art into the works of Italian engravers at the beginning of the six- teenth century, and by using detailed analysis of these prints lead to a decision as to why these transfers occur so frequently, mainly in the years 1500-1520. Because only brief mentions of these transfers are found in the available literature on this topic, and then often only as a statement, I decided to tackle this phenomenon in the context of landscape specifications. In the introductory chapter there will be a concise overview of the cultural situation of the humanistic society, including its assumptions and a brief evolution of depiction of landscape art. Additionally there will be a chapter about the terminology used, which in addition to clarifying the terminology also helps to further the description of the proce- ss itself. The main part will of course be a chapter dedicated into selected items. There will also be descriptions of the graphic works of selected Italian engravers, especially in the comparison of transferred landscape motifs from works by Albrecht Dürer and Lucas van Leyden. Analy- sis of the individual prints will focus on elements transmitted in the background of the works. Iconography...

[ES] La presente tesis doctoral lleva por título La estampa líquida. El tensioactivo como medio de expresión artístico. Reúne la investigación de diversos artistas, cuyas obras surgen a partir de las posibilidades creativas de un químico tensor. Son el reflejo de nuevas estrategias y de la incorporación de nuevos materiales como medio creativo contemporáneo, y que tomamos como referentes para la invención de un nuevo método de entintado calcográfico. Esta indagación toma como punto de partida los conceptos de tiempo y espacio, dos términos inherentes y complementarios, consecuencia directa del rastro y la huella derivada de una realidad social. La Modernidad líquida, categoría que define este estado actual y figura de cambio constante y de interinidad, acuñada por el sociólogo Zygmunt Bauman, nos sirve como metáfora para la interpretación de estos nuevos recursos. Del mismo modo, este ensayo recoge un análisis del diálogo permanente entre aquellos detalles cotidianos y desapercibidos, receptáculos contenedores de un devenir en forma de esfera, representación que adoptamos del filósofo Peter Sloterdijk. Realizamos también, una aproximación a lo que fue una revolución en las vanguardias en el mundo de la gráfica: La técnica de la simultaneidad del color, inventada por el artista británico Stanley William Hayter y proceso primigenio del que surge esta tesis. Asimismo, se examinan aquellas técnicas de creación pictóricas, afines a nuestro estudio experimental, de las cuales nos imbuimos directamente. Como resultado del estudio del efecto de transitoriedad tensioactiva, esta tesis propicia nuestra producción artística personal: Recuerdo del trayecto, que ilustra dicha evolución química a través del tiempo inmortalizado en forma de estampa. / [CA] La present tesi doctoral porta per títol L'estampa líquida. El tensioactiu com a mitjà d'expressió artístic. Reunix la investigació de diversos artistes, les obres dels quals sorgixen a partir de les possibilitats creatives d'un químic tensor. Són el reflex de noves estratègies i de la incorporació de nous materials com a mitjà d'expressió artístic contemporani, i que prenem com a referents per a la invenció d'un nou mitjà d'entintat calcogràfic. Aquesta indagació pren com a punt d'eixida els conceptes de temps i espai, dos termes inherents i complementaris, conseqüència directa del rastre i la petjada derivada d'una realitat social. La Modernitat líquida, categoria que defineix aquest estat actual i figura de canvi constant i de interinitat, encunyada pel sociòleg Zygmunt Bauman, ens servix com a metàfora per a la interpretació d'aquests nous recursos. De la mateixa manera, aquest assaig recull una anàlisi del diàleg permanent entre aquells detalls quotidians i desapercebuts, receptacles contenidors d'un esdevenir en forma d'esfera, representació que adoptem del filòsof Peter Sloterdijk. Realitzem també una aproximació al que va ser una revolució a les Avantguardes en el món de la gràfica: La tècnica de la simultaneitat del color, inventada per l'artista britànic Stanley William Hayter i procés primigeni del que sorgeix aquesta tesi. Així mateix, s'examinen aquelles tècniques de creació pictòriques, afins al nostre estudi experimental, de les quals ens inbuïm directament. Com a resultat de l'estudi de l'efecte de transitorietat tensioactiva, aquesta tesi propicia la nostra producció artística personal: Recuerdo del trayecto, que il·lustra l'esmentada evolució química a través del temps immortalitzat en forma d'estampa. / [IT] La presente tesi di dottorato si intitola La stampa liquida. Il tensioattivo come mezzo di espressione artistica. Nel nostro lavoro intendiamo riunire le ricerche di vari artisti, le cui opere nascono dalle possibilità creative di un tensore chimico. Esse riflettono le nuove strategie e l'incorporazione di nuovi materiali come mezzo creativo contemporaneo, che prendiamo come riferimento per l'invenzione di un nuovo metodo per inchiostrare la matrice calcografica. Questa indagine prende come punto di partenza i concetti di tempo e spazio, due termini intrinseci e complementari, conseguenze dirette e prodotti derivanti da una determinata realtà sociale. La Modernità Liquida, categoria riferita allo status quo della società contemporanea, che rappresenta in costante cambiamento e una condizione ad interim, coniata dal sociologo Zygmunt Bauman, serve come metafora per l'interpretazione di queste nuove risorse. Allo stesso modo, questo saggio cattura un'analisi del dialogo permanente tra quei dettagli quotidiani e inosservati, i contenitori di un divenire in forma di sfera, così come apprendiamo dal filosofo Peter Sloterdijk. Abbiamo anche operato un'approssimazione a quella che è stata una rivoluzione nel mondo della grafica: la tecnica della concorrenza del colore, la cui partenità si ascrive all'artista britannico Stanley William Hayter, primo processo da cui nasce questa tesi. Inoltre, il nostro alvoro esamina anche quelle tecniche di creazione pittorica, simili al nostro studio sperimentale e di cui il nostro lavoro è fortemente impregnato. Come risultato dello studio dell'effetto della transitorietà surfattante, questa tesi promuove la nostra personale produzione artistica, Recuerdo del trayecto, che illustra questa evoluzione chimica attraverso il tempo immortalato sotto forma di stampa. / [EN] This doctoral thesis is named La estampa líquida. El tensioactivo como medio de expresión artístico (The Liquid Print. Surfactant as a resource of artistic expression). It gathers the investigation of different artists whose works arise from the creative possibilities of a tensor chemical. They are the reflection of new strategies and of the incorporation of new materials as a contemporary creative resource, and they are considered an example for the invention of a new chalcographic inking method. This investigation takes the concepts of time and space as a starting point. These concepts are inherent and complementary, a direct consequence of the trace and the print that stem from a social reality. The Liquid Modernity, a category which defines this current state and a symbol of constant change and temporariness, coined by sociologist Zygmunt Bauman, acts as a metaphor for the interpretation of these new resources. Likewise, this essay gathers an analysis of the permanent dialogue between those daily and unnoticed details, containing receptacles of a spherical future, a representation adopted from philosopher Peter Sloterdijk. We also carry out an approximation to what was a revolution in Avant-garde in the world of graphic arts: the technique of viscosity printing, invented by British artist Stanley William Hayter, an original process from which this thesis stems. Additionally, we examine those pictorial techniques of creation, related to our experimental study and from which we are directly influenced. As a result of the study of the effect of surfactant transience, this thesis fosters our personal artistic production: Recuerdo del trayecto, which illustrates this chemical evolution through the time immortalized in the shape of a print. / Simarro Escobar, A. (2020). La Estampa Líquida. El Tensioactivo como Medio de Expresión Artístico [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/152187 / TESIS