This work deals with the possibilities to use modern art in the leisure time. The theoretical part charakterises the pedagogical conceptions of Bauhaus, Paul Klee and Wassily Kandinsky. It deals with the issue of the artwork reception and with the developement and present circumstances of the art education at schools but also in terms of the leisure time. The practically part makes use of this theoretical knowledge and apllies it to the practices. For a better orientation is the project divided into two sections. The aim of the first part is the aplication of the integral method in the art education. The second part focuses on the work with the expressive means.

Au sens strict, les peintures à l'huile chinoises du XXème siècle proviennent de la France. Plus précisément, au début du XXème siècle, grâce à Pascal Dagnan-Bouveret et ses collègues, la peinture à l'huile et le système éducatif de la France sont introduits en Chine par Xu Beihong et ses camarades. Les méthodes d'enseignement et les approches picturales de l'académisme français constituent un tournant original de la formation plastique et académique en Chine. Cette thèse, dans ses deux aspects de l'histoire et de la création contemporaine, explore et présente le contexte culturel, l'expérience sentimentale, la pensée esthétique, le concept académique et la qualité picturale de Dagnan-Bouveret. Cet artiste a influencé profondément, idéologiquement et picturalement, des étudiants chinois dont l'influence est aujourd'hui déterminante sur la peinture chinoise contemporaine. En parallèle, j'essaie d'évaluer l'histoire du développement de la peinture à l'huile chinoise, lié au statut de l'art académique en Chine et de ses origines. / Strictly speaking, the Chinese oil paintings of the twentieth century come from France. More specifically, in the early twentieth century, thanks to Pascal Dagnan-Bouveret and his colleagues, the oil painting and the education system of France are introduced in China by Xu Beihong and his comrades. The French academic teaching methods and painting skills are the turning point of the Chinese education in the field of plastic art and academic training. In this thesis, the cultural background, the emotional experience, the aesthetic thought, the academic ideas and the value of oil painting of Dagnan-Bouveret are explored and introduced in both modern history and creation way. This artist has deep influence, including ideology and painting skill, on Chinese students and it plays a key role in the development of the current contemporary Chinese painting. Meanwhile, I am trying to evaluate the history of the development of Chinese oil painting, related to the status of academic art in China and its origins.

The dissertation analyses the reliefs and paintings on thirty-one different tombs in Western Anatolia erected between 600 and 450 BC, in order to illuminate the ways in which non-Greek elites were identified on their memorials. The tombs from three areas are treated: Phrygia, Hellespontine Phrygia and Lydia, where the primary language groups were Phrygian, Mysian and Lydian. There is little literary evidence for these regions, and what there is tends to focus on political developments. Descriptions of people and society are few, and tend to represent them from an outside perspective, grouping them according to cultural characteristics which differentiate them from Greeks. It is clear, however, that the regions were important, prosperous places, controlled by illustrious grandees and land marked with a relatively high proportion of monumental tombs. Of these monumental tombs, there is a relatively high number decorated with striking and articulate images. There is much to be gained from examining the images on these tombs, as ‘indigenous’ sources for how elite Western Anatolians described themselves. Previous approaches to the tombs and their images have tended to look at them individually or in smaller groups, and to concentrate on the transmission and reception of Persian and Greek culture in the Achaemenid provinces. This dissertation contributes a broader comparative study of the decorated tombs, focussing on the kinds of statuses the images represent and the cultural forms these took. By comparing the various methods of self-representation, it clarifies patterns of identities in Western Anatolia and their relationship to historical circumstances. The dissertation is divided into five chapters. An introduction outlines the scope and sample, the historical background, previous studies of the monuments, the definition of ‘identity’ and the methods of analysis adopted here. Three case study chapters present the regions and the decorated monuments within them. A concluding chapter synthesises three aspects: social identities (roles and spheres of life represented); geographic and chronological patterns; and cultural affiliations and orientations. The dissertation concludes that a tension between Persian identities and local traditions is evident in some of the tomb images, which relates to the political upheavals in Western Anatolia and the Aegean at the time of the Persian Wars.

The thesis is divided into three sections. The first section discusses the manuscript Marcianus graecus 524, the second looks at the Greek text of the dedicatory epigrams on works of art from the same manuscript, and the third puts these texts in their context. In the first part, the compilation of the manuscript is analysed. I suggest that the manuscript was copied mainly by one individual scribe living in Constantinople at the end of the thirteenth century. He copied the quires individually, but at some point he put all these quires together, added new quires, and compiled an anthology of poetry. The scribe’s connection to the Planudean School and the Petra monastery in Constantinople is discussed. Although their relationship remains inconclusive, the manuscript provides evidence regarding the literary interests of late-thirteenth-century intellectuals. The second part contains thirty-five unpublished dedicatory epigrams on works of art. New readings are offered for the text of previously published epigrams. The third section analyses the dedicatory epigrams on works of art in their context. The first chapter of this section discusses the epigrams as Gebrauchstexte, i.e. texts with a practical use. The difference between epigrams intended to be inscribed and epigrams intended to be performed is highlighted. In the next chapter of this part, La poésie de l’objet, the composition of the dedicatory epigrams is discussed. The conventional character of the epigrams suggests that the poetics express the ritual aspect of the epigram. The last chapter considers the texts from a more pragmatic angle. After a short discussion of the objects on which the epigrams were written, the mechanisms of the twelfth-century art market are presented based on evidence taken mainly from the epigrams. At the end of this part, conclusions are drawn on the understanding of these texts in the twelfth century.