Inaug.-Diss.--Köln. / "Lebenslauf": p. [68]. "Literatur-Verzeichnis": p. v-vi.

Thesis--Heidelberg. / Includes bibliographical references (p. 249-264).

Thesis (Ph. D.)--University of Gothenburg, 1979. / Errata slip inserted. Summary in English. Includes bibliographical references (p. 187-208).

Revision of Thesis (Ph. D.)--University of California at Los Angeles, 1977. / Includes bibliographical references (p. [203]-210) and index.

Encore souvent perçu comme une véritable révolution esthétique, l’impressionnisme fait depuis quelques années l’objet d’une importante recontextualisation visant à remettre en question cette vision. Sans dénier au mouvement ses apports novateurs, cette thèse étudie la relation de ses membres avec la tradition picturale. S’appuyant sur un important corpus de textes critiques, de revues spécialisées et de catalogues d’exposition de l’époque, ainsi que sur de très nombreuses comparaisons iconographiques étayées, elle dégage quatre grandes sources d’inspiration : le XVIe siècle vénitien, le XVIIe siècle espagnol, le XVIIe siècle néerlandais, et le XVIIIe siècle français. C’est à l’aune de ce rapport à la peinture ancienne, et par le biais d’une typologie des différents positionnements à son égard, que la « crise » connue par l’impressionnisme au début des années 1880 est réexaminée, et que, plus généralement, une nouvelle approche du mouvement est proposée. / Impressionism is often perceived as a genuine aesthetic revolution. However, over the course of past years, it has been reconsidered and this vision called into question. Without rejecting the groundbreaking characteristics of Impressionism, this thesis studies the relationship between the Impressionists and pictorial tradition. Referring to a large corpus of reviews, specialized articles, exhibition catalogs of the period, and supported by many iconographic analogies, it lists four major inspirations: the Venetian 16th century, the Spanish 17th century, the Dutch 17th century, and the French 18th century. In the light of this connection between Impressionism and Ancient painting, and with the help of a typology summing up the different positions regarding this connection, this thesis reexamines the crisis that Impressionism underwent during the early 1880’s and suggests a new approach to the movement.

During the early 19th century, the flautist became known as a frivolous “dandy” figure whose extravagant appearance suited his light and virtuoso playing. He becomes a so-called professional virtuoso, generating his own income in the absence of aristocratic patronage while entertaining the rising bourgeois public, who demands light yet virtuoso performances. Many artists are disillusioned in this sphere where the arts seem to be reduced to something that is merely utile to the public – a form of entertainment; a social tool. The greatest concern of writers and poets is that the universal truth of their modern reality will not be expressed in art. It becomes the quest of these seemingly disempowered intellectuals to fight this tendency and to express the existential anguish, uncertainty and ennui of the modern materialist society through their art. It is against this background that the concept of the flautist as “aristocratic virtuoso” is developed. This idea opposes the concept of the “professional virtuoso” of the early 19th century. In this society where artists have to find their voice without the support of the aristocratic classes, 19th century disillusioned poet Charles Baudelaire develops the concept of a symbolic cultural aristocracy, wherein the artist is a privileged outsider “on the inside”; a spectator who takes up all of everyday existence, and transforms it into a profound poetic reality. It is with this theory in mind that I develop my thesis of the flautist as aristocratic virtuoso – a figure who captures the universal beauty of his time through his music and shares it with his audience. This dissertation is, therefore, a study of the events that brought about this re-definition of the role of the flautist in the 19th century. It explores the contribution of prominent composers, the impact of the Société Nationale de Musique Française and the French Flute School, as well as the development of the instrument. AFRIKAANS : Gedurende die vroeë 19de eeu onderskei die fluitis hom as ‘n byna windmakerige “dandy” figuur; sy fisieke voorkoms passend by sy ligte, dartelende tog uiters virtuose spel. Hierdie vroeë 19de eeuse fluitis staan bekend as die professionele virtuoos, omdat kunstenaars nie meer die beskermheerskap van die aristokrasie geniet nie, en vir hulle bestaan afhanklik word van die bourgeois publiek wat indrukwekkende, dog verteerbare vermaak van musici vereis. Verskeie kunstenaars voel vervreem in hierdie sfeer waarbinne die kunste gereduseer word tot iets wat “van nut” is vir die publiek. Die grootste kommer van skrywers en digters is dat dit wat van universele waarde in die realiteit van hulle epog is, nie tot uitdrukking kom in die kunste nie. Skrywers en intellektuele voel hulleself ontmagtig en dit word hulle doel om teen hierdie tendens te stry en deur hulle kuns die eksistensiële angs, onsekerheid en leegheid van die moderne materiële bestel uit te beeld. Dit is in hierdie denkraamwerk dat die konsep van die fluitis as “aristokraat virtuoos” sy oorsprong het. Hierdie idee staan vanselfsprekend in teenstelling met die “professionele virtuoos” van die vroeë 19de eeu. In ʼn samelewing waar die kunste sonder die reële gegewe van die aristokratiese beskerming en bevordering ʼn medium moet vind waarbinne hulle eie moderniteit uitgedruk kan word, ontwikkel die 19de eeuse ontnugterde digter Charles Baudelaire die konsep van ʼn nuutgevonde simboliese “kulturele” aristokrasie. Hy ontwikkel ʼn interessante dualiteit rondom die kunstenaar wat as bevoorregte objektiewe buitestaander ten nouste betrokke is by die samelewing en wat daarvoor verantwoordelik is om die tydelike met die ewige te verbind deur sy/haar kuns. Dis vanuit hierdie idee dat ek ʼn saak maak vir die fluitis as aristokraat virtuoos – as figuur wat binne die medium van musiek die skoonheid van sy tyd vasvang en met sy gehore deel. My studie is dus ‘n ondersoek rondom die gebeurtenisse wat hierdie hervorming in die 19de eeu meebring. Ek bestudeer komponiste wat ‘n belangrike bydrae lewer tot die fluitrepertorium, en ondersoek die stigting van die Société Nationale de Musique Française en die Franse Fluitskool, en die ontwikkeling van die instrument self. Copyright / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted