Este trabalho tem como proposta estudar a obra pictórica de Jerônimo Bosch a partir da pesquisa, seleção, tradução e análise de excertos dos séculos XV, XVI e início do XVII que tratam do pintor e de sua obra. Diferentemente dos estudos contemporâneos, que, iconográficos, privilegiam a análise das imagens e a interpretação de seu simbolismo, esta pesquisa propõe estudar Bosch através destes textos, pensados a partir dos gêneros discursivos. Considerando as diferenças entre os gêneros, o estudo dos excertos visa a explorar sua diversidade e apontar seus pontos comuns, como a fama de Bosch na época, as descrições de suas pinturas e a qualificação das obras, sobretudo como fantásticas, bizarras e maravilhosas. / The purpose of this study is to discuss Jerome Boschs pictorial works in light of research, selection, translation and analysis of writings from the 15th, 16th and 17th centuries about his life and works. Unlike contemporary iconographic studies in which the analysis of images and the interpretation of its symbols are the main method, this work intends to study Bosch through those texts, considering the genres of rhetorical discourse. Taking into account the differences among genres, this study explores the diversity of the texts, trying to point out, when possible, its commonalities, as found in the painters fame in the period, the description of his paintings and the qualification of his works, specially when they are regarded as fantastic, bizarre and wonderful.

Este trabalho tem como proposta estudar a obra pictórica de Jerônimo Bosch a partir da pesquisa, seleção, tradução e análise de excertos dos séculos XV, XVI e início do XVII que tratam do pintor e de sua obra. Diferentemente dos estudos contemporâneos, que, iconográficos, privilegiam a análise das imagens e a interpretação de seu simbolismo, esta pesquisa propõe estudar Bosch através destes textos, pensados a partir dos gêneros discursivos. Considerando as diferenças entre os gêneros, o estudo dos excertos visa a explorar sua diversidade e apontar seus pontos comuns, como a fama de Bosch na época, as descrições de suas pinturas e a qualificação das obras, sobretudo como fantásticas, bizarras e maravilhosas. / The purpose of this study is to discuss Jerome Boschs pictorial works in light of research, selection, translation and analysis of writings from the 15th, 16th and 17th centuries about his life and works. Unlike contemporary iconographic studies in which the analysis of images and the interpretation of its symbols are the main method, this work intends to study Bosch through those texts, considering the genres of rhetorical discourse. Taking into account the differences among genres, this study explores the diversity of the texts, trying to point out, when possible, its commonalities, as found in the painters fame in the period, the description of his paintings and the qualification of his works, specially when they are regarded as fantastic, bizarre and wonderful.

Thesis--Munich. / Vita. Includes bibliographical references.

abstract: Bruegel is a four movement composition inspired by the paintings and engravings of Flemish artist Pieter Bruegel the Elder (1525-1569). It is scored for Bass Clarinet in Bb, Electric Guitar, One Percussionist (Glockenspiel, Woodblock, Snare, Kick Drum, and Brake Drums), Piano and String Quartet. Each movement explores a painting or engraving from Bruegel’s catalog of works and attempts to embody each piece of art through the use of certain compositional techniques. The Cripples (Movement I) explores layered rhythms and disjunct melodic fragments which play on the idea of Bruegel’s painting of crippled men trampling over each other and stumbling. Small moments of balance are found throughout only to be lost. Patience (Movement II) is based on an early engraving of Bruegel, which depicts a lone woman who represents a virtue, in this case patience, surrounded by sin and vices. Juxtaposed textures are presented with patience eventually finding itself victorious to temptation. Children’s Games (Movement III) explores a painting which depicts a large number of children playing a plethora of different games. The movement uses graphic notation and plays with the idea of games to create a compositional “game” for the ensemble. Big Fish Eat Little Fish (Movement IV) depicts a large fish eating several smaller fish. A process is introduced which plays on the idea of increasing density and lasts for the bulk of the movement. / Dissertation/Thesis / Masters Thesis Music 2016

Résumé L'examen archéologique et dendrochronologique des panneaux peints permet dappréhender les caractéristiques techniques relatives à la fabrication des supports de peinture. Puisque le corpus duvres couvre deux siècles de peinture dans les anciens Pays-Bas méridionaux, les analyses mettent en évidence les permanences ou les évolutions techniques de la mise en uvre du bois, et peuvent dès lors contribuer à une histoire matérielle de lart. Parallèlement, il est indispensable dintégrer la confection des supports dans un cadre plus large de production, en relation avec le contexte politique, économique et religieux de la région et de la période couvertes par notre étude. Le corpus duvres sur lequel repose cette thèse compte 143 peints datés entre 1450 et 1650. Quil sagisse de retables ou de panneaux de chevalet, tous ont été confectionnés et peints sur le territoire des Pays-Bas méridionaux, principalement dans des centres tels que Bruges, Bruxelles ou Louvain, aux XVe et XVIe siècles, ainsi quAnvers, aux XVIe et XVIIe siècles. La majeure partie des tableaux est issue du marché libre qui se développe dès la fin du XVe siècle dans les différents centres urbains ; quelques peintures de commande sy ajoutent. À lépoque qui nous occupe, le marché des panneaux peints est en pleine expansion. Au XVIe siècle, la demande en peintures de chevalet explose : posséder des tableaux fait partie des préoccupations de la bourgeoisie, même modeste. Au long de la période envisagée, le statut du panneau peint est ainsi passé de produit dexception (uvres de commande) à celui de produit usuel (panneaux de chevalet disponibles en grandes quantités sur le marché libre). Au XVIIe siècle, Anvers devient le fournisseur en peintures pour toutes les grandes villes dEurope. Au-delà dune meilleure compréhension ponctuelle de la chaîne opératoire de la fabrication des supports de peinture, des investigations dordre plus général ont été menées, pour replacer la réalisation du panneau destiné à être peint dans un contexte de production en pleine mutation. Laccroissement de la production de peintures sur bois dans les Pays-Bas méridionaux principalement au nord du pays soulève la question de lapprovisionnement en chêne, essence exclusive pour la confection des supports, dautant que la couverture forestière régionale est clairsemée et compte peu dindividus aux qualités requises pour la production de planches de panneaux. Ce constat conduit à sinterroger sur les sources qui ont permis de répondre à la demande en planches par les villes flamandes et brabançonnes. Dans ce contexte, il convenait également de prendre en considération les conséquences éventuelles sur lapprovisionnement en bois allochtone des bouleversements politiques et religieux qui secouèrent lEurope entière, à partir du troisième tiers du XVIe siècle et jusquaux traités de Westphalie au milieu du XVIIe siècle. Comme la période couverte par notre recherche (de la fin du moyen âge au début de lépoque moderne) est marquée par dimportantes évolutions techniques, il était intéressant de mesurer limpact que ces progrès ont pu avoir dans le domaine de la production des panneaux peints, et en particulier sur le débitage des planches nécessaires à leur confection. Dès lors, il était utile de sinterroger sur les conséquences de la scission survenue entre les Pays-Bas du Nord, grands spécialistes du sciage des planches, et ceux du Sud, qui dépendaient en grande partie de leurs voisins hollandais pour leur approvisionnement. Le développement considérable de la demande en peintures de chevalet a nécessairement conduit à une augmentation tout aussi importante de la demande en supports prêts à être peints. Des documents darchives attestent dailleurs que les artisans du bois ne parvenaient plus à honorer les innombrables demandes. Il était donc justifié de sinterroger sur les moyens quils ont mis en uvre pour améliorer leur productivité et leur rentabilité. À côté de ces constatations dordre contextuel, et plus concrètement, le matériel détude a nécessité le développement dune méthodologie propre à lexamen dendrochronologique des panneaux peints. Les résultats enregistrés et discutés tout au long de ce travail ont permis déclairer les apports et les limites de lapplication de cette discipline à des objets tels que les supports de peinture. Ils ont également mené à la constitution dun nouveau référentiel dendrochronologique adapté à la datation de peintures sur bois des anciens Pays-Bas. Abstract Archaeological and dendrochronological analyses of panel paintings yield results with respect to the technical characteristics related to the fabrication of the painting supports. Since the corpus of works studied covered two centuries of painting in the southern part of the ancient Low Countries, such analyses demonstrate persistence or technical development in woodworking, and thus contribute to the material history of art. Similarly, it is indispensable to integrate the production of supports within the broader framework of production, in relation to the political, economic and religious context of the region during the period covered by this study. The corpus of works on which this thesis is based comprises 143 panel paintings dated between 1450 and 1650. Whether altarpieces or easel paintings, all were created and painted in the southern Low Countries, principally in centres such as Bruges, Brussels and Leuven, during the 15th and 16th centuries, as well as in Antwerp, during the 16th and 17th centuries. The majority of the paintings are the result of the open market which developed at the end of the 15th century in different urban centres; several paintings made on order have also been studied. During the period of interest, the market for panel painting was in full expansion. In the 16th century, the demand for easel painting exploded: to own paintings was one of the interests of the bourgeoisie, even if modest. During this period, the status of the panel painting thus changed from being a rare commodity (works by order) to widespread (easel paintings available in large quantities on the open market). In the 17th century, Antwerp became the source of paintings for all of the large cities in Europe. Beyond a better, but episodic, understanding of the production sequence to prepare painting supports, investigation at a broader scale has also been carried out in order to place the production of panels destined to be painted within the context of production in full transformation. The rise in the production of paintings on wood in the southern Low Countries mainly in the northern part of the country raises the questions of procurement of oak, the exclusive material for supports, since the regional forest cover was sparse and had few trees with the qualities required for the production of panel planks. This observation led to investigation of the sources of wood responding to the demand for planks by Flemish and Brabant towns. In this context, it was also appropriate to consider the possible consequences of political and religious upheavals on non-local wood procurement from the last third of the 16th century to the Westphalia treaties in the middle of the 17th century. As the period examined in this research (end of the Middle Ages to the beginning of the Modern Era) is marked by significant technological developments, the impact of this progress in the area of panel painting production, and in particular on the cutting techniques of planks needed for their supports, was addressed. As a result, it was useful to examine the consequence of the scission between the northern Low Countries, specialists in sawing planks, and the southern part, which depended in large part on their Dutch neighbours for procurement. The considerable development in the demand for easel paintings necessarily led to an equally important increase in the demand for supports ready to be painted. Archival documents also show that wood artisans were no longer able to meet the innumerable requests. It was thus relevant to investigate the means they employed to improve their productivity and profitability. Next to these contextual observations, and more concretely, the material studied required the development of a methodology specific to the dendrochronological analysis of panel paintings. The results recorded and discussed throughout this thesis allow clarification of the contribution and limits of the application of this discipline to objects such as painting supports. They have also led to the construction of a new dendrochronological frame of reference adapted to the dating of paintings on wood in the ancient Low Countries.

Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams’ theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens’s case, these included the classical Stoic. While it would be possible to trace Rubens’s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens’s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens’s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers’ personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens’s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens’s style. / Graduate / 2023-12-14