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Lieu commun /Martin, Jacques, January 1991 (has links)
Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1991. / Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
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Homme de papier /Bergeron, Édith. January 1992 (has links)
Mémoire (M.A)-- Université du Québec à Chicoutimi, 1992. / Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Bibliogr.: f. 34-35. Document électronique également accessible en format PDF. CaQCU
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Geneviève dans le jardin du bien et du mal : variations à saveur kitsch sur les sept péchés capitaux /Lapointe, Geneviève, January 2002 (has links)
Mémoire (M.Th.Pr.)--Université du Québec à Chicoutimi, 2002. / Document électronique également accessible en format PDF. CaQCU
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Fantasme de calvitie /Dulude, Marc, January 2003 (has links)
Thèse (M.A.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. 44-45. Document électronique également accessible en format PDF. CaQCU
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L'imparfait du présent /Côté, Karine, January 1900 (has links)
Thèse (M.A.) -- Université du Québec à Chicoutimi, 2004. / Bibliogr.: f. 76-79. Document électronique également accessible en format PDF. CaQCU
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Vom Verkbund zum Vierjahresplan : die Ausstellung "Schaffendes Volk", Düsseldorf 1937 /Schäfers, Stefanie. January 2001 (has links)
Diss.--Fachbereich 5 Kunstgeschichte--Wuppertal--Bergische Universität Gesamthochschule, 1998. Titre de soutenance : Schaffendes Volk, Düsseldorf 1937. / Bibliogr. p. 435-472. Index.
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L'élaboration d'une culture artistique régionale : Grenoble et ses artistes de 1796 à 1853 : (volume 1 - texte) / The emergence of a regional culture : Grenoble and its artists since 1796 to 1853 : (volume 1 - text)Humbert, Candice 15 December 2016 (has links)
Notre étude sur L’Élaboration d’une culture artistique régionale […] se propose d’explorer le fait artistique en Dauphiné au cours de la première moitié du XIXe siècle. Portée par la dynamique du questionnement sur l’identité culturelle régionale, notre recherche a pour but de combler un manque mais également de répondre à une attente de connaissance sur cette période pourtant délaissée à l’échelle locale mais qui fut généreuse en échanges et en expérimentations. Il s’agit d’expliciter la corrélation entre les composantes artistiques, institutionnelles et sociales du milieu culturel dauphinois afin d’apprécier leurs rôles et leur importance. Pour ce faire, notre champ d’étude a été circonscrit à la peinture, la sculpture et au dessin, en raison de leur présence majoritaire dans les Salons. Par ailleurs, il faut préciser que le territoire du Dauphiné, depuis 1790, regroupe les départements de l’Isère, de la Drôme et des Hautes-Alpes. Toutefois, le principal département analysé dans notre enquête demeure l’Isère et plus particulièrement la ville de Grenoble qui concentre l’activité artistique régionale. Aussi, comment la vie artistique locale s'est-elle structurée à partir d'institutions? Quelle a été l'importance des actions individuelles engagées pour son développement ? L’étude de la genèse et des fondements des institutions grenobloises où se révèlent l’existence d’une classe de dessin, d’un musée, d’un Salon et d’une Société des Amis des Arts, montre d’une part les différents investissements collectifs et individuels. L’exploration du patrimoine local, de même que l’intérêt des Grenoblois pour l’art et les activités culturelles vérifient le fait que Grenoble et ses habitants se souciaient du développement des beaux-arts. D’autre part, l’examen du parcours des artistes régionaux, comme la venue de peintres et dessinateurs étrangers en Dauphiné ou encore la destination des œuvres, croisent naturellement les questions de la formation, des déplacements, de la circulation des hommes et des œuvres ainsi que des relations artistiques entre les différents territoires. En outre, ces sujets conduisent progressivement à déplacer l’interrogation sur d’autres échelles nationale et transnationale. Au niveau national, Paris concentre toutes les attentions en raison de la formation qu’elle offre aux artistes provinciaux mais également pour l’émulation culturelle qui la caractérise. Au niveau transnational, l’Italie, par sa proximité géographique avec le Dauphiné et par sa forte présence dans l’imaginaire artistique, attire la venue de nombreux artistes dauphinois. Il est indéniable que les interactions entre les artistes et la confrontation de cultures différentes ont contribué à l’essor artistique dauphinois. Mais tandis que les artistes régionaux explorent d’autres lieux, un mouvement inverse se repère, le Dauphiné ne cesse de recevoir la visite d’« étrangers ». Leurs apports est une question fondamentale que nous avons renseignée puisqu’ils ont été parfois à l’origine de changements esthétiques dans la production dauphinoise. De même, l’étude de la géographie des lieux de conservation des œuvres dauphinoises permet d’apprécier l’étendue de leur réception hors du Dauphiné et également d’identifier les thèmes alors particulièrement recherchés. Enfin, notre recherche met en évidence l’essor et la diversité de la production artistique dauphinoise afin de resituer les artistes locaux dans une sphère plus large de connaissances et de sensibilité contemporaines. Du « grand » genre aux « petits » genres, elle apprécie la création régionale, explique en quoi elle se caractérise et comment elle suit les fluctuations de la production nationale. Il fallait donc indéniablement interroger le premier XIXe siècle pour comprendre l’élaboration d’une culture artistique régionale en Dauphiné et ainsi mieux appréhender l’origine du succès des peintres locaux après 1850 et plus généralement l’essor des beaux-arts en Dauphiné au XIXe siècle. / Our study into The emergence of a regional artistic culture […] proposes exploring artistic output in Dauphiné in the first half of the 19th century. Inspired by the increasing trend seen over recent years towards examining regional cultural identity, the purpose of our research is to fill a void but also to meet a wider demand for knowledge about this period, one overlooked at a local level but which was nevertheless very rich in dialogue and experimentation. We seek to explain the correlation between the artistic, institutional and social components of the cultural environment in Dauphiné, to assess their roles and importance. To do so, our field of study has been limited to painting, sculpture and drawing due to their prominent position in the exhibitions. Moreover, we should specify that since 1790 the Dauphiné area has included the departments of Isère, Drôme and Hautes-Alpes. However, the main department analysed in our investigation is Isère and more particularly the town of Grenoble, where much of the region's artistic activity is concentrated.Thus, how was regional artistic life structured through the institutions and what has been the importance of the individual actions with regard to its development? A study of the founding and role of the institutions in Grenoble, where we find the existence of a drawing class, a museum, an exhibition and a ‘Friends of the Arts’ society, firstly shows the different collective and individual efforts being made. An exploration of the local heritage in addition to the interest shown by Grenoble’s inhabitants in art and cultural activities confirm that Grenoble and its residents took an interest in the development and dissemination of the fine arts.Secondly, an examination of the careers of regional artists and the arrival in Dauphiné of painters and illustrators from outside the area or the eventual destination of the works, naturally generate questions concerning training, travel, the circulation of people, of works, and the artistic relationships existing between the various regions. Additionally, these subjects gradually lead us to consider such matters at national and transnational level. At a national level, Paris takes centre stage due to the training it provides for artists from the French regions but also for the cultural emulation effect characterising it. At a transnational level, Italy has attracted many artists from Dauphiné, thanks to its geographical proximity to Dauphiné and its high "top of mind" status in the artistic imagination. It cannot be denied that the interactions between artists and the clash of different cultures contributed to the rise of the artistic scene in Dauphiné. But just as the region's artists were exploring other areas, movement was also occurring in the other direction, with Dauphiné constantly being visited by "outsiders". Their contribution is a fundamental issue which we have examined as they have sometimes been the source of aesthetic changes in Dauphiné's artistic output. Similarly, an examination of the geography of the sites at which Dauphiné's artistic works are stored enables us to appreciate the extent of their "reach" outside Dauphiné and also to identify which themes were particularly sought-after.Finally, our research highlights the growth and diversity of Dauphiné's artistic production to position local artists in a wider sphere of contemporary sensitivity and ability. From the "major" genre to the "minor" genres, it assesses regional creative output, explaining what characterises it and how it follows national fluctuations in output.It was therefore necessary without a doubt to examine the first half of the 19th century to understand how a regional artistic culture emerged in Dauphiné and to better understand the sources of the success of local painters after 1850 and more generally the growth of the fine arts in Dauphiné in the 19th century.
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As exposições provinciais do império: a Bahia e as exposições universais (1866 a 1888)Cunha, Cínthia da Silva January 2010 (has links)
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Previous issue date: 2010 / As Exposições Universais do século XIX foram construtoras e vitrines da ideologia do
progresso burguês. O Brasil Imperial participou destes eventos, mobilizando algumas
províncias na seleção e envio de produtos representativos da cultura brasileira e da
modernidade que se pretendia nascente no país. São analisadas nesta dissertação as
Exposições Provinciais Baianas entre os anos de 1866 e 1888, preparatórias para as
Exposições Nacionais que levariam acervos as Universais de 1867 em Paris, 1873 em
Viena, 1876 na Filadélfia e, a segunda Exposição Universal de Paris no ano de 1889.
Reconstituiremos as Exposições da Província da Bahia desde os convites recebidos às
premiações conquistadas com os produtos baianos. O objetivo é perceber se houve ou
não o alinhamento baiano com o projeto Imperial de instaurar no Brasil a Modernidade
burguesa em voga no período. The Universal Expositions of the nineteenth century were the builders and showcases‟s
ideology of the bourgeois progress. The Imperial Brazil participated these events,
mobilizing some provinces in the selection and deployment of representative products
of Brazilian culture and, the modernity that was intended in the source country. This
dissertation analyze the Bahia‟s Provincial Exhibition between the years 1866 and 1888,
preparatory to the National Exhibitions that would take the collections to the Universals
on 1867 in Paris, 1873 in Vienna, 1876 in Philadelphia, and the second Universal
Exposition in Paris on 1889 . Will be reconstruct the Exhibition of the Province of
Bahia from the invitations to the awards earned with the Bahia products. The purpose is
to see whether there is an alignment between Bahia project and Imperial project to
establish on Brazil the bourgeois Modernity in vogue in the period. / Salvador
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"A kdy se zase půjdeme podívat na velrybu?" Expozice a výstavy Národního muzea ve druhé polovině 20. století ve světle archivních pramenů / "And when will we go back again to look at the whale?" Exhibitions of the National Museum in the second half of the 20th century in the light of archival sourcesHanousek, Jan January 2018 (has links)
This thesis presents results of a research on a topic that has not been studied yet. The first part focuses on general questions and context - contemporary views on exhibition activities, the process of realization of the exhibition (exposition), typology of archival sources and their information value, nomenclature and projection of external influences (politics, censorship) into the exhibition activities. In the other part are (in a form of analysis of a concrete material) presented expositions of National Museum, it's exhibition activities between 1953-1962, expositions and exhibitions of a Mineralogical department and exposition of a Prehistorical department. A list of exhibitions corresponding to the current state of research is connected in the attachment. Key words: Exhibitions, expositions, National Museum, archival sources.
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Mostra do Redescobrimento : Arte Barroca e Espetacularização / Brazil Rediscovery ExhibitionQuagliato, Adriana Novaes 30 August 2007 (has links)
Orientador: Maria Jose de Azevedo Marcondes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-09T11:44:56Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007 / Resumo: Esta dissertação de mestrado tem como objetivo analisar a interação entre as obras barrocas e a cenografia e assim, compreender o caráter da espetacularização da arte barroca conferido na Mostra do Redescobrimento ¿ Brasil 500 anos. Através desse projeto procurou-se pesquisar e analisar se esses dois pontos eram ¿compatíveis¿ e poderiam ser complementares. O início desta pesquisa se deu com a investigação sobre a origem e os princípios da arte barroca para conhecer as características estéticas e ¿funcionais¿ dessa arte. Em seguida, considerando que a mostra era constituída especificamente por obras brasileiras, buscou-se entender como esta ¿arte barroca¿ chegou ao Brasil e como esta produção artística se desenvolveu nas diversas regiões hegemônicas de nosso país. Além disso, como essa Mostra foi montada em um Museu, pesquisouse também, a origem dos museus e quais as inovações em relação à arquitetura e à organização do espaço museólogico que contribuíram para a criação e o planejamento da exposição Mostra do Redescobrimento ¿ Brasil + 500 anos. Por fim, foram reunidos todos os catálogos, artigos e críticas sobre a Mostra e o módulo propriamente ditos / Abstract: This essay has the purpose of analysing the interaction between the baroque workmanships and scenography. It aims to understand the character of the baroque art spectacle presented on the ¿Brazil Rediscovery Exhibition¿. Through this project it was researched and analysed the compatibility and complementation (harmony) between the two areas. This research started with the investigation of the origin and principles of the baroque art, in order to better understand the characteristics, aesthetics and functionality of the art. Subsequently, since the sample contained only of Brazilian workmanships, it was researched the reason of how the baroque art arrived in Brazil and how this art production developed in different hegemonic regions in the country. Furthermore it was also studied how this sample was mounted in the museum, the origin of the museums and which innovations related to architecture and distribution of the space in the museum contributed to the creation and planning of the exposition ¿Brazil Rediscovery Exhibition¿. At last, it was gathered the catalogues, articles and critiques about the sample and the module itself / Mestrado / Mestre em Artes
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