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Poems inscribed on paintings combine poems and paintings closely together. They are artistic fusion of poetry and painting. A poem inscribed on a painting usually serves as a window to the painting to point out, bring about and deepen the meaning of the painting. Hence, poems inscribed on paintings characterize themselves as overlapping the boundaries between literature, painting, landscape poetry and landscape painting. A poem inscribed on a painting not only displays the form of landscape through the painting but also expresses the meaning of the painting and reflects the poet's mind as well. The combination of landscape poetry and landscape painting reached the summit in the Yuan Dynasty when lots of poems inscribed on paintings emerged to express the art of painting through the art of poetry. Further combination of poetry and painting first appeared in the works of HUANG, Kung-wang, who was a famous poet and painter in the Yuan Dynasty. Among the "Four Masters of the Yuan Dynasty", HUANG enjoyed the highest achievements in art and remarkable accomplishment in the creation of poems inscribed on landscape paintings, which exerted an enlightening, deep and long-term influence on the art and literature of the successive Ming and Ching Dynasties. HUANG, Kung-wang's poems inscribed on paintings can be divided into two categories - "poems inscribed on others' paintings" and "poems inscribed on his own paintings". The former represents the poet's (HUANG, Kung-wang's) perception and appreciation of a painting through his own cultural discipline and aesthetic taste and the subsequent creation of a poem to bring about the meaning of the painting. The latter provides the background of his (HUANG, Kung-wang's) creation of poems and gives hints to the inner implications of his paintings and his ideas and appreciation of painting, aiming to achieve the state of "perfect fusion of poetry and painting" through poetry-painting interaction. So, whether "poems inscribed on others' paintings" or "poems inscribed on his own paintings", the poet (HUANG, Kung-wang) have successfully introduced readers to painting and showed them how to enjoy the fun and meaning behind painting. Poems inscribed on landscape paintings use paintings as materials, so the existence of landscape images embodies a visual space. However, the creation of both poetry and painting most addresses the link between, or rather, the fusion of scenery and emotion. As a result, while appreciating a painting with a poem inscribed on it, we had better not limit our view to forms and structures. In stead, HUANG, Kung-wang's approach of appreciating a painting is much recommended. With excellent mental training and great imagination, the scenery of mountains, rivers, clouds, villages, pavilions, or even a blank space on the painting could turn out to be an entire season, life, nature or universe for the mind to enjoy eternally. Besides, HUANG, Kung-wang's poems inscribed on landscape paintings particularly emphasize mental growth and pursuits. It is believed that reading, religious discipline, reclusion, travel and personal integrity can help improve the level of art and literature creation. HUANG, Kung-wang had never learned painting until he was 50. His case is a good example of the Chinese saying, "A great vessel will be long in completion; a great man will take time to shape and mature." In terms of Chinese painting, it means that only through multiple training and discipline can an artist demonstrate a unique style.

Separate landscape is a research that combines a theory and practice through the examination of 'non-place'. Non-places such as airports, waiting lounges, car parks, shopping malls have been defined as places which lack a sense of history, social relations, and identity.

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Cette thèse a pour objet l’analyse sémiologique du Vide dans l’espace pictural du minhwa, genre artistique populaire coréen, et plus particulièrement dans les peintures ayant pour thème le paysage ‘montagne-eau’ du 18e au 20e siècle de l’ère du Chosŏn. Nous étudions cette notion, qui s’est développée à partir des philosophies traditionnelles telles que le taoisme, le bouddisme et le confucianisme par exemple, en la considérant comme l’un des fondements de la pratique de la peinture et de la culture coréenne. De nos jours, le minhwa est devenu un genre reconnu pour sa valeur artistique propre : l’espace pictural du minhwa est un véritable lieu d’expérimentation pour ses styles innovants et populaires tout en conservant des éléments traditionnels imposés par la philosophie esthétique : le thème, ou l’utilisation de la notion de Vide, par exemple. C’est pourquoi nous avons centré notre attention sur les fonctions de l’espace non peint afin d’étudier l’emploi de la notion du Vide, spécifique au genre du minhwa. Dans cette analyse, nous faisons l’hypothèse que la notion de Vide, sous la forme de surface non peinte, est significative en ce qu’elle exerce des fonctions particulières dans l’espace constitué par la peinture. L’étude de cet espace non peint ainsi que d’autres expressions picturales nécessite l’élaboration d’une grille d’analyse constituée de septs critères : elle s’appuie sur des notions philosophiques traditionnelles, comme la ‘voie’ du tao, mais aussi sur d’autres propres à la philosophie esthétique contemporaine, comme la ‘cinquième dimension’ (Cheng), l’‘entre-deux’ (Buci-Glucksman), ou à l’analyse théorique de l’espace (‘cible/site’ de Vandeloise), afin de pouvoir cerner les fonctions et le sens du Vide dans la symbolique de notre corpus. / The purpose of this thesis is to provide a semiological analysis of Void in the pictural space of Minhwa, a Korean folk art genre, most particularly in the landscape paintings with the theme of the 'mountain-water' from the 18th to the 20th century in the Chosŏn era. We study this notion, which has proceeded from traditional philosophies such as Taoism, Buddhism or Confucianism for example, examining it as one of the fundamental principles of both Korean painting and Korean culture. Nowadays Minhwa has become a genre acknowledged for its intrinsic artistic value: the pictural space of Minhwa is a true experimentation field for innovating and popular style founded on traditional elements imposed on by esthetic philosophy: the theme, the scope of the notion of Emptiness, for instance. Thus we have focused on the roles of unpainted space in order to study the ways of the notion of Void specific to Minhwa genre. The hypothesis of this analysis is that the notion of Void visible as an unpainted place is meaningful in so far as it plays some significant roles within the space created by painting. The study of this unpainted space as well as other pictorial expressions requires to produce an analytic grid based upon seven criteria: it relies on traditional philosophical notions such as the one found in Taoism, the “Way”, or the notion of contemporary esthetic philosophy, the “Fifth dimension” (Cheng), the “Entre-deux” (Buci-Glucksman) and or the notion coming from the theoretical analysis of space, “Trajector / Landmark” (Vandeloise) so as to be able to encompass their roles and their meanings within our corpus.

This thesis examines the roles of the sublime and the beautiful in the works of eighteenth-century French landscape painter Claude-Joseph Vernet. An introduction to the study, a history of the sublime and beautiful, and an overview of the way these ideas are portrayed in Vernet's calm and storm pendants are provided. How commissions for these pendants relate to theoretical developments of the sublime and beautiful and how Vernet became aware of the these ideas are addressed. The thesis shows Vernet was not dependent on British patrons or on the century's most influential aesthetic treatise on the sublime and the beautiful by Edmund Burke, because Vernet started painting such themes well before Burke's treatise (1757) and did so in response to French patrons.

The diploma work deals with the paintings of Antonín Hudeček from around 1900, which are viewed from two positions. The first thematic area includes the analysis of selected thought sources (the topic of a soul or a mood in the art), the motives (mirroring) and the themes (bathing boys) of Hudeček's paintings, which are treated with regard to the period art criticism a thought currents. The second part is made by analysis of some art sources which were essential for Antonín Hudeček's paintings around 1900. These were especially Hudeček's training with figuralists in Prague and Munich and the possible foreign inspiration, most importantly from the context of the contemporary art colonies and informal art groups. Fundamental theme of the work is the relationship of figure and landscape in the work of Antonín Hudeček around 1900. The catalogue of Hudeček's paintings from this period and excerpts from selected periodicals serve as the main methodological tool for comparison of Hudeček's work with other artists. Hudeček's schematic biography is also presented in the appendix of the work.

19th century America is shaped greatly by territorial expansion into NativeAmerican lands. A famous painting which represents this process is called AmericanProgress by John Gast. This study argues that the display of power between the settlersand the Native Americans in the painting mirrors the dominant discourse on 19th centurywestward expansion. So, the analysis is concerned with how the settlers are constructed,how the Natives are displayed and how this results in a power hierarchy. These findingsare then compared to 19th century discourse on the westward movement. The analysis isguided by the methodological tool of Foucauldian discourse analysis. The analytical stepsare informed by the two American Studies scholars Angela Miller and Martin Christadler.The research is based on pragmatism with a leaning towards constructivism. This studyfinds that American Progress contrasts civilisation and nature in similar ways as thisdichotomy is established in the discourse of the 19th century. Westward expansion in thepainting and in 19th century discourse is justified by constructing the Natives as godlessand the settlers as godly. The difference in brightness in American Progress supports thedichotomies of civilisation and nature as well as godliness and godlessness.