The aim of this thesis is to clarify the concept of still life, outlining its development in the context of art from antiquity to the present. The work will focus select content for specification and formal transformations of still life with the possibility of using the outline of educational potential for the practice of art education in elementary schools. This work includes theoretical and practical part. The theoretical part deals with the history, basic principles and techniques of still life in art and his world and Czech officials. Practical application includes a realistic still life theme in art lessons and its subsequent possibilities.

A partir de l'élaboration du catalogue de son oeuvre (tableaux de chevalet et peintures décoratives), cette thèse étudie et ré-évalue la place de Jean-Baptiste Monnoyer dans la France du Grand Siècle. L'étude des oeuvres de ses collaborateurs et contemporains permet de préciser l'originalité de sa personnalité artistique et de définir sa place dans le développement de la peinture de nature morte en France au XVIIe siècle. Né à Lille, Monnoyer arrive tôt à Paris, où il ajoute à son expérience de la nature morte nordique l'influence des peintres français de la vie silencieuse. Il inscrit aussi son nom dans le siècle de Louis XIV comme peintre décorateur, effectuant les premiers décors des résidences de jeunesse du monarque (Saint-Germain-en-Laye, Vincennes, les Tuileries). Il y donne ses lettres de noblesse au motif de la guirlande tressant la gloire du prince.Comme collaborateur de Le Brun, il travaille dans des chantiers privés (Hôtel Lambert, château de Vaux), ou des châteaux de ministre du roi (Sceaux). Il part encore travailler en Angleterre à la fin du siècle. L’abondance des commandes royales l'oblige à s’entourer d’assistants. Les enjeux artistiques de cette production sont enfin analysés : la position du genre de la nature morte dans la doctrine officielle de l’Académie et sa reconnaissance dans les collections privées ; le statut du peintre de nature morte dans la génération des classiques, de Félibien à Perrault. Enfin, le rôle fondamental de Monnoyer dans le développement et la diffusion de ce genre est étudié. / Having compiled the entire work catalogue of Jean-Baptiste Monnoyer (easel paintings and decorations), this thesis aims to study and re-value his importance in France during the Grand Siècle.Through the study of works of his collaborators and contemporaries the uniqueness of his artistic personality is specified, as well as his position in the development of still life painting in France during the 17th century.Born in Lille, Monnoyer came early to Paris, where he joins his knowledge of Nordic still life painting to the influence of French « silent life » painters.His name is famous too during the century of Louis XIV as a painter decorator. As such, he made the first decorations for the youth residences of the monarch (Saint-Germain-en-Laye, Vincennes, the Tuileries). He there develops the importance of the pattern of the garland glorifying the prince.As a collaborator of Le Brun, he works in private worksites (Hôtel Lambert, château de Vaux), or in castles of ministers (Sceaux). He also works in England at the end of the century. Due to the great amount of royal orders, he was forced to gather assistants. The artistic issues of this production are analysed: the situation of the still life genre in the official doctrine of the Academy, and his recognition in private collections ; the position of the still life painter in the classical generation, from Felibien to Perrault. And then, the fondamental part of Monnoyer in the development and the rayonnment of this genre is studied.

This thesis rediscovers the Swedish painter Märta Rudbeck (1882–1933). During her lifetime she was an esteemed composer of flower still lifes and portraits. Her forgotten heritage follows those of other female artists, whose legacies are long forgotten. By retracing her life through archives and newspaper articles, a picture of her upbringing, education, career and network affiliations emerges. By using the French sociologist Pierre Bourdieus field theory, the aim of the thesis is to analyse the social, educational, cultural and economic aspects that affected Märta Rudbeck’s life, and how this was manifested in her art. The strategies Märta Rudbeck encompassed, are highlighted in the analysis. She chose to exhibit her work with a variety of associations and also took commissions for portraits and copies of older works of art. The analysis also reveals how she followed in her mother’s footsteps and embraced female networks to further her career. Furthermore, the thesis uncovers how her heritage, social class and upbringing most likely influenced her choice of genre, which in turn has prevented her from staying relevant since her untimely death in the early 1930’s. The thesis finally discloses how Märta Rudbeck’s artistry is once again made relevant, through a major museum acquisition as well as an exhibition at one of the greater art institutions in Sweden.

My study contains a semiotic analysis of three screen captures of still lifes from the music video PrettyBones by the artist Yeule, directed by Joy 秀 Song. The music video depicts several scenes with inspiration from the Dutch great power era and it’s still life painting. The visual elements of the music video have a focus on the course of life and one's own mortality, themes that have long been addressed through still life painting. My study is based mainly on David Petit’s (1988) studies about the symbolism and meaning of 16th-17th century Flemish still life painting. The study also contains segments of Fanny Ambjörnsson’s (2011) studies about the color pink. The purpose of the study is to investigate what the still life communicates through the context of 16th-17th century Flemish iconography and through acontemporary semiotic reading. Results of the study shows that there are similarities between the themes that are present in the still life with contemporary objects and the more traditional still lifes. It also touches on morals and societal norms about feminine identity.

Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687. Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque. Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle. / The painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687. Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time. The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée des documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Pendant la période coloniale, le grand sujet de la nature fut différemment instrumentalisé selon les intérêts particuliers des secteurs distincts de la société coloniale péruvienne. Fondamentale comme outil d'évangélisation, mais surtout comme espace de canalisation de la religiosité et de la spiritualité coloniale, la nature a su se manifester de manière diverse dans la production artistique de la vice-royauté du Pérou. Dans cette thèse, nous nous penchons sur le phénomène de la représentation de la nature dans la peinture andine coloniale, en nous concentrant en particulier sur la région occupée actuellement par le Pérou et la Bolivie, et sur une périodisation qui comprend principalement les XVIIe et XVIIIe siècles. Ce travail cherche à approfondir une problématique qui a été majoritairement oubliée ou sous-estimée par le discours critique de l’histoire de l’art de la période coloniale. Nous aborderons cette problématique à partir de différentes perspectives. Cependant, l'aspect religieux semble l’élément fondamental pour expliquer les principaux enjeux derrière ce geste pictural. La peinture de la nature et de l'espace fut représentative des valeurs et des fondements spirituels de la religiosité coloniale. Les andins ont pensé la nature comme un moyen de visualiser des expériences métaphysiques profondes, de repenser les identités religieuses et d’accorder aux images des pouvoirs magico-religieux qui s’avéraient essentiels pour le bien-être de différentes communautés. Bien que l’étude des rapports religieux soit indispensable pour élucider cette structure symbolique complexe, tant pour la peinture de paysage (comme unité organique), que pour la représentation des éléments individuels, la représentation de la nature a révélé, dans bien d'autres cas, des préoccupations concrètes directement liées aux circonstances, autant politique qu’ historique, de la société coloniale, en s’adaptant aux changements constants d’un espace et d’une société en transformation. Loin d'être uniquement soumis à l'exercice décoratif, ou dans le cas de la peinture religieuse, de remplir la fonction de contexte pictural, les peintres coloniaux ont valorisé cet élément en l'abordant comme un objet individuel, chargé de pouvoir symbolique et capable de transmettre des messages et de produire des discours, toujours en lien avec les préoccupations des différents secteurs de la société coloniale. / In the colonial period, the great subject matter of nature was instrumentalized by different sectors of Peruvian vice regal society. Essentially as an evangelization tool, but also as a space where colonial religiosity was manifested, the representation of nature was interpreted in different ways by artists and consumers of vice regal paintings. In this dissertation, we analyze the representation of nature in colonial Andean painting, focusing especially on the Central Andean region (currently covered by Peru and Bolivia) in the seventeenth and eighteenth centuries. This work seeks to move forward on an issue that has been largely underestimated by critical discourse of art history regarding the Latin American colonial period. We will discuss this problem from different perspectives. However, the religious aspect seems to be above all a fundamental element to explain the key issues behind this pictorial manner. The representation of nature was consistent with spiritual values that forged colonial religiosity. Andean people considered nature as a way to visualize deep metaphysical experiences by rethinking religious identities and granting to the images magical-religious powers essential for the well-being of communities. Beyond the religious aspect, we focus on the analysis of other consequences and interests that are related to the different forms of representation of territories and elements of nature, allowing different social groups to assert their ideological, political and cultural positions. The representation of nature and space in colonial painting was never a simple decorative object, nor, in the case of religious painting, did it fulfil the role of scenographic framework and background to pictorial stories. The colonial painters treated this element with particular concern, conceding it special value and narrative powers, according to different preoccupations in colonial society.

The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the character of each friend and also to the use of Nature against queer people in most legal systems across the planet. We are deemed unnatural and made criminals through inequitable semantics. The 8x10 negative becomes a portrait, a darkroom contact print that is gifted to each of The Wild Beasts, an intimate artifact of my gratitude. At these borders I lash at the histories of oppression, remaking these lineages and tools into spaces for empathy, tenderness, and love.

Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687. Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque. Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle. / The painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687. Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time. The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.

The content of this dissertation is the life and œuvre of Johann Georg de Hamilton, a relatively obscure painter of hunts, portraits of horses, hunting still-lifes and hunting scenes. Johann Georg de Hamilton (1672-1737), a painter belonging to a famous Scottish family, was influenced in his creative work considerably by the 17th -century Flemish painters of still-lifes and hunting scenes. He was active predominantly in Vienna and in South Bohemia, in service of Adam František, Prince of Schwarzenberg, as well as Karl VI of House Habsburg. He created hunting-themed paintings and portraits of horses to members of both the secular and the ecclesiastic aristocracy of the lands of the Austrian Empire, such as the Houses of Liechtenstein, Serényi, Althan and others. This dissertation is the very first attempt at a monographic analysis of the life and œuvre of this painter. In addition to new bibliographic data, it offers an in-depth insight into the relationship between the person who commissioned his work, Adam František, Prince of Schwarzenberg, and the painter Johann Georg de Hamilton on the basis of extant correspondence, and also attempts to present the painter's œuvre in a cultural-historical and artistic context. The dissertation mentions the first exhibition of a collection of Hamilton's work,...

Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane's compositions for vibraphone consistently expand the technical and musical potential of the instrument. Performance of Deane's vibraphone works requires a performer to utilize grips and specific performance techniques that are departures from standard performance practices. Many of the performance techniques needed to successfully execute these pieces are not routinely found in either percussion pedagogy courses or performance ensemble situations. As a result, most percussionists are not familiar with these techniques and will require additional assistance, instruction, or demonstrations. The impetus of this document is to present explanations and solutions for performance areas that require extended performance techniques, to offer recommendations on the creation, choosing, and manipulating of special implements, and to propose varied choices related to artistic interpretation of three of Deane's vibraphone pieces: Mourning Dove Sonnet (1983), The Apocryphal Still Life (1996), and Dis Qui Etude (2004).