Alfred Stieglitz and the members of '291' are most often remembered in the art historical literature for introducing modernism into America through the work of European artists and through the integration of current European formal experiments into the work of American artists. While some authors have referred to the fact that this modernism, as presented by 291, was intended to critique society, any analysis of that critique is conspicuously missing. Also absent is an analysis of what one contemporary critic referred to as the "queer symbolism lurking at the Post-Impressionist hypothesis." In this thesis the following questions are asked: what was 291's critique and why did they insist upon the expression of the 'irrational' states of the psyche — passion, intuition and imagination, in their art. By situating 291 within its particular set of contexts I attempt to explain what their position represented — to the members themselves and to their rivals. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Orientador: Jorge Sidney Coli Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T22:41:45Z (GMT). No. of bitstreams: 1 Martinez_FelipeSevilhano_M.pdf: 14453606 bytes, checksum: 268602accf94907a8381f9d4ac8e3c3c (MD5) Previous issue date: 2015 / Resumo: O Museu de Arte de São Paulo (MASP) possui cinco obras do pintor holandês Vincent van Gogh em sua coleção. São elas: Natureza Morta com Vaso, Prato e Flores; O Escolar; O Banco de Pedra no Asilo em Saint-Rémy; A Arlesiana; O Passeio ao Crepúsculo. O presente trabalho estuda as questões suscitadas por tais obras, de modo a compreender aspectos fundamentais sobre a obra e a biografia de van Gogh. A partir das obras da coleção, o presente estudo aborda questões que variam desde um problema de atribuição, até aspectos concernentes à mitologia criada em torno do pintor, marcada pela loucura e pelo suicídio / Abstract: There are five pictures by the Dutch painter Vincent van Gogh at the permanent collection of the Museu de Arte de São Paulo. They are: The Still Life with Vase Plate and Flowers; The Schoolboy; The Stone Bench at the Saint-Rémy Asylum; L¿Arlesienne; The Evening Walk. The present study aims to answer the questions posed by these artworks, which vary from an attribution problem to issues concerning the mythology created around the painter, marked by madness and suicide / Mestrado / Historia da Arte / Mestre em História

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Indiana University-Purdue University Indianapolis (IUPUI) / In the late nineteenth century, the American art world was highly competitive as artists vied with each other and more established European artists for a small pool of patrons. A few recognized the power of mass media to create celebrity and financial success. They tread carefully into the arena of self-promotion, striking a delicate balance between advertising and maintaining Gilded Age ideas about the purely artistic motivations of a great painter. In 1878, the largely unknown artist William Merritt Chase arrived in New York with the idea that an elaborately decorated studio could potentially make his name in the art world. The plan worked. His Tenth Street Studio was a harmony of color created through his masterful arrangement of bric-a-brac and art objects. It soon attracted media coverage and public attention. Chase quickly realized, however, that the writers who gushed over his studio were more interested in the space than the artist who created it. While the studio had achieved celebrity, its creator had not. In order to attract patrons, Chase needed to garner press coverage of the studio that would refer back to himself as the artist. His solution was a series of paintings of the studio interior itself. Chase depicted wealthy visitors looking at prints, conferring with the artist, even contemplating a purchase of work right off the walls – messages intended to advertise his availability to these potential patrons. These painted “advertisements,” created in the 1880s, redirected public attention from the studio to its creator and solidified his celebrity. In 1890, Chase painted one of the most famous events to ever occur at the Tenth Street Studio – the performance of the Spanish dancer known as the Carmencita. While encapsulating the bohemian atmosphere of the studio, Chase’s portrait of the dancer displayed no trace of the studio or its contents, only a plain muted background. He no longer needed to advertise himself as artist-for-hire because he had already succeeded in this endeavor. His painted studio advertisements had worked. Chase was a bona fide Gilded Age celebrity and a permanent addition to the canon of great American artists.

This bachelor thesis covers the subject of the impressionist painter Nils Kreuger and aselective five works of art he produced during the industrialization. The aim of the study is toexamine how Kreuger expressed his oppositional position to the industrialization through therepresentation of horses and their relation to the landscapes in which they are depicted. Withthe use of the viewer's reflective perception the study takes interest in aesthetic dimensionsand meanings and if or how they can mediate the concept of freedom in visual arts. And if so,how is it expressed in the works of Kreuger? The result shows that there is reason to believehis paintings express and mediate the concept of freedom through the analysis of hisaesthetics and the intrinsic meaning in his work.

As far as the writer could find in her reading no one has ever written a finished study of this phase of Music, Art, and Literature. Of course, there are hints of it here and there in many books, but in no one in particular was a detailed study given. Paul Landormy’s book, A History of Music, seemed to carry the heart of the subject, however, in an extremely miniature style. When we think of French music, our minds are generally centered in Paris, for it is here that the greatest organizations have been sponsored, and the important musical ideas have been developed, representing France as a whole. In 1870 no one had a lighter heritage than French musicians; for the past had been forgotten, and such a thing as real musical education did not exist. The musical weakness of that time was a very curious thing, and has given many people the impression that France has never been a musical nation. Historically speaking, nothing could be more wrong. Certainly there are races more gifted than others; but often the seeming differences of races are really the difference of time; anda nation appears great or little in its art according to the particular period of its history we consider. Perhaps the impression that France was not a musical nation was incurred by the fact that for nearly a century before Debussy’s time. French music had practically no national character. Naturally, Claude Debussy did not complete the task of nationalizing French music alone. This nationalization was a surging of ideas that had been forming for thirty years or more before his time, and to which the greatest musical intellects had contributed. However, none has attacked the problem of a truly French musical spirit with more outstanding proofs and a more clear-visioned conscience than Debussy.

Paul Alexis (1847-1901) est souvent cité comme le meilleur ami de Zola, c’est là sa principale caractéristique. Presque son unique définition. On a tendance à oublier qu’il est aussi un écrivain engagé dans une cause qui est le principe même de son existence : le naturalisme. Ce travail tente d’explorer cette double perspective. En étudiant un certain nombre d’ouvrages et d’articles de journaux de cet auteur, il essaie de comprendre d’un côté ses rapports avec Zola, et de l’autre, ses conceptions personnelles, ses convictions profondes ainsi que ses relations avec les autres membres du mouvement. Pour cela, il scrute, tout d’abord, ses liens à la fois littéraires et intimes avec Zola. Il montre le quotidien d’une amitié qui connaît tumultes et mutations. Il analyse les moments marquants qui ont rythmé le cours de leur vie. Il note les convergences et tente de mettre en lumière les divergences entre le rédacteur de Germinal et celui de Madame Meuriot qui se présentait comme le tenant quasi ultime des thèses naturalistes. Ensuite, il s’efforce d’exposer précisément les idées personnelles de cet écrivain à partir de ses prises de position théoriques et de ses ouvrages de fiction. Il observe son implication dans ses domaines de prédilection : le journalisme, les arts, le théâtre, la politique... Enfin, il décrit son action menée au côté de Zola, au cœur du cercle de Médan, mais aussi d’une façon autonome, face aux grands événements qu’il a rencontrés, face aux grands problèmes qu’il a affrontés, comme l’émergence du naturalisme ou l’Affaire Dreyfus, par exemple. Le but ultime de cette thèse est de s’intéresser à ce personnage décrié souvent, parfois négligé, qui fut plus qu’un compagnon de route de Zola. / Paul Alexis (1847-1901) is mainly known as the closest friend of Zola. This is quoted as his main characteristic, almost as his unique definition. He is usually forgotten to be mentioned as also a writer who was very dedicated to a cause which had a huge significance in his life : Naturalism. This thesis tries to explore this double perspective. By studying books and newspaper articles written by this author, this work aims on the one hand, to explore his relationship with Zola, and, on the other hand, to focus on his personal designs, his deep convictions, as well as his connections with the other members of the movement. Primarily, in order to achieve this, this thesis scrutinises his personal and literary links with Zola. It shows the everyday life of a friendship which went through many challenges and changes. It analyses the striking moments which occurred during the course of their lives. It emphasises their common points of thought and tries to highlight the differences between the author of Germinal and the writer of Madam Meuriot, the last appearing to be the ultimate upholder of the naturalistic theories. Then, this project strives to precisely explain the personal ideas of this novelist, according to his theoretical views and to his works of fiction. It observes his restless involvement and the fights he led for the sake of his favourite topics such as : journalism, arts, theatre, politics... Finally, this work describes the actions Alexis carried out at the side of Zola, at the heart of the circle of Médan, but also in a more autonomous way, during major events in which he participated. This paper aims to clarify the huge issues he faced, such as the rise of naturalism or the Dreyfus affair, for example. The ultimate purpose of this PhD is to consider this character often slandered, sometimes neglected, a man who was more than a fellow traveller of Emile Zola.

Does God exist? Can we know for sure? What might it mean to know this? Furthermore what might it look like to make works of art while also seeking to find answers to these questions? This thesis details my personal experiences growing up in a world steeped in postmodernism and my move to answer such questions while looking to develop a meaningful, clear worldview and body of work. I have turned my focus on specific episodes in my life, which significantly illuminate a progression of thinking and experience. Together these thoughts and experiences have become the impetus for both questions and propositions embedded within the long haul of my work culminating in my thesis exhibition.

[pt] A presente dissertação propõe analisar a atuação de Gonzaga Duque como crítico de arte. Este trabalho reconstrói o percurso das influências estéticas que compuseram o universo teórico de referência para a atuação de Gonzaga Duque como crítico de arte. Esse estudo aborda com maior ênfase o engajamento simbolista do autor, mas igualmente compõe um quadro de diferentes fontes e experiências críticas citando artistas e críticos contemporâneos de seu período, como por exemplo, Baudelaire, Zola e Ruskin. Este estudo indica que Gonzaga Duque conseguia realizar uma crítica ao mesmo tempo experimental e teórica e que nutria essa certa generosidade de se manter sempre aberto aos desafios do presente, conseguindo forjar uma concepção singular de modernidade. A dissertação também se propõe analisar os artigos de crítica de arte referentes a alguns artistas relevantes no período, realizando uma análise formal concomitante com o texto do autor. Dessa forma, esse estudo permite pensar as amplitudes, mas também os limites da crítica de arte, principalmente no que tange a compreensão de certa modernidade plástica, não incorporada pelo autor, explicitando a sua condição de sujeito circunscrito no seu meio cultural. O estudo permite pensar as especificidades deste período histórico compondo um cenário social e cultural, com seus principais referenciais, indicando os aspectos singulares que permitiu ao Gonzaga Duque realizar uma crítica prol de um alargamento das fronteiras da visualidade na arte brasileira. / [en] The present dissertation aims to analyze the performance of Gonzaga Duque as an art critic. This work reconstructs the trajectory of the aesthetic influences that had composed the theoretical universe of reference for the performance of Gonzaga Duque as an art critic. This study emphasizes the relationship of the author with the Symbolism, but equally approaches different sources and critical experiences involving contemporaries` artists and critics with relevance for its period, such as Baudelaire, Zola and Ruskin. This study indicates that Gonzaga Duque has a successful acting as critic, performing at the same time experimental and a theoretical analysis opened to the challenges of the present, building a singular conception of modernity. The dissertation also aims to analyze the art reviews themselves with peculiar emphasis to some relevant artists in the period. This study it allows the meditation about the amplitude, but also the limits of the critic, mainly referring to the comprehension of a certain plastic modernity, not incorporated by the author. Finally, the study allows thinking the specificities of this historical period composing a social and cultural scene, with its main elements, indicating the singular aspects that allowed to the Gonzaga Duque to cross the borders of the Brazilian art.

Made available in DSpace on 2016-04-28T19:59:19Z (GMT). No. of bitstreams: 1 Elizandra Pereira.pdf: 5332852 bytes, checksum: ae54f607db4f3feb966110cfff70e0c2 (MD5) Previous issue date: 2009-09-30 / Secretaria da Educação do Estado de São Paulo / This paper has as its aim analyzing the novel A CARNE, by Júlio Ribeiro (1888), according to the Impressionist painting view, in order to revalue it while an esthetic object, under the Naturalism and Impressionism conceptions. The first chapter deals with the analysis perspective which is able to verify the inter-relations between image and word in tension areas of the narrative between narration and description. This favors, at the same time, the perception and the observation of the word that is being read through the application of the artistic and impressionist proceedings on the literary discursive material. The second chapter enlights new possibilities for the plastic-visual articulation, materialized in the literary word by considering the impressions and sensations of the real world as an object. By means of the reflection on the real, the Impressionist artist Claude Monet used to project his painting diagrams on the screen. This way, Júlio Ribeiro s literary word is delegated to the narrator under two proceeding aspects: the scene told as word and the scene shown as image. The third chapter shows that the tension zones are crossed sometimes by the narrator s view and others by the character s one, resulting in the dissociation subject-object in the literary discourse. This is what bases the synthesis word-object beneath the Impressionist perspective between the artist and/or writer s reflections and depuration. In the conclusion, it is finally detached that in A CARNE , by Júlio Ribeiro, the image, together with the word in experimentation, receives an artistic function of presenting the body of the word-object, to the reader, to the literature understood as word-body in an acting of representing the real / A presente dissertação tem por objetivo analisar o romance A CARNE, de Júlio Ribeiro (1888), sob o olhar impressionista da pintura para reavaliá-lo enquanto objeto estético, sob as concepções do Naturalismo e Impressionismo. O Capítulo I trata da perspectiva de análise em adoção que pretende verificar as inter-relações imagem e palavra em áreas de tensão da narrativa entre narração e descrição. O que favorece, a um só tempo, a percepção e a observação da palavra em leitura por meio de procedimentos artísticos impressionistas aplicados ao material discursivo literário. O Capítulo II aclara essas novas possibilidades de articulação do plásticovisual, materializadas na palavra literária pela via das impressões e sensações do mundo real enquanto objeto. Mediante a reflexão do real, é que o artista impressionista Claude Monet projetava os diagramas de suas pinturas em telas. Para tanto, a palavra literária de Júlio Ribeiro é delegada ao narrador sob dois aspectos de procedimento: a cena contada como palavra e a cena mostrada como imagem. O capítulo III mostra que as zonas de tensão são cruzadas ora pelo olhar do narrador, ora pelo olhar da personagem, resultando na dissociação sujeito-objeto no discurso literário. É o que fundamenta a síntese palavra-objeto sob a perspectiva impressionista entre a reflexão e a depuração do artista e/ou do escritor. Na conclusão, destaca-se, afinal, que, em A CARNE , de Júlio Ribeiro, a imagem, junto à palavra em experimentação, recebe a função artística de apresentar o corpo da palavra-objeto, ao leitor, para a literatura entendida como palavra-corpo em ato de representação do real