A la fois lieu commun du raisonnement et cliché discursif - selon la distinction opérée par Remy de Gourmont pour qui le lieu commun renvoie à la banalité de l'Idée, tandis que le cliché représente la matérialité même de la phrase -, l'antienne de l'influence du Roman de la Rose sur les arts figurés au Moyen Âge est devenue l'une de ces nombreuses redondances argumentatives sustentant régulièrement la rhétorique en histoire de l'art. Partie de ce constat inflationniste et du désir de vérifier le bien-fondé d'une hypothèse iconographique reliant le Roman de la Rose à la tenture de la Dame à la Licorne, cette enquête a essayé de mettre en exergue le danger des lieux communs de l'interprétation en histoire de l'art, et plus particulièrement de ceux faisant un usage inconsidéré du texte de Guillaume de Lorris et Jean de Meung. / Both discursive cliché and commonplace reasoning – according to the distinction made by Remy de Gourmot for whom the commonplace refers to the banality of the Idea while the cliché is the very materiality of the sentence – the anthem of the Roman de la Rose's influence on figurative arts in the Middle Ages became one of those many redundancies regulary invoked in argumentative rhetoric. Provoked by this observation and by the desire to check the relevance of an iconographic hypothesis linking the Roman de la Rose to the tapestry of the Lady and the Unicorn, this investigation has tried to highlight the danger of the interpretation commonplaces in Art History, especially those making a reckless use of Guillaume de Lorris and Jean de Meung's poem.

The thesis Mannerist Tapestries in the Czech Republic is focusing on the topic of mannerist tapestries in the Czech Republic. So far this subject remains, in both czech and foreign professional literature, without any greater attention and if the topic is mentioned, the expressions "late renaissance", "mannerism" and "early baroque" are very often mixed. For this reason, it is necessary to define "mannerist tapestry", based on formal analysis, comparison and focusing on cultural-historical background. After this theoretical part, it will be possible to place certain tapestries to this very short art period or vice versa to exclude them. The main part is focused on mannerist tapestries from the castles, museums, ect. of the Czech Republic and their inclusion in the European context. Key words Mannerism, Tapestry, Decorative arts of the16th century, Art collections from the Czech Republic

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The aim of this essay is to examine how the Norwegian textile artist Hannah Ryggen depicts the mother and the motherhood in her tapestries. The study also investigates how the view of the depicted mother can be interpreted. The analyses are performed using Erwin Panofskys three-step analysis from a gender theoretical perspective. The material analyzed are three Flemish woven tapestries: Unwed Mother (1937), Liselotte Hermann Decapitated (1938) and Mothers Heart (1947). The results show that Ryggen depicts the mother and the motherhood in a wide range of aspects in the examined tapestries. Some of the most prominent aspects found are how the mother often is criticized, in her motherhood, and also as a woman in a patriarchal society. The examination shows how Ryggen uses her unique combination of traditional techniques of weaving to raise awareness of political as well as social issues during her contemporary time. Thus, she emphasizes the mother’s important role in society.

Ce mémoire propose d’analyser, sous la perspective de la lecture, de quelles façons Guy Gavriel Kay intègre les mythologies celtique et nordique ainsi que la légende arthurienne à l’univers fictionnel de La Tapisserie de Fionavar. La première partie permet de montrer que l’auteur canadien introduit la fantasy arthurienne dans récit annoncé comme appartenant à la high fantasy. Le mémoire se penche ensuite sur son utilisation plus érudite et personnelle des sources mythologiques. Par la suite, l’analyse s’attache plus spécifiquement à la façon dont les mythes participent à la création du monde secondaire et des personnages et enfin à la manière dont la légende arthurienne est intégrée à la diégèse par le biais des notions d’intertextualité et de transfictionnalité.

Élève de l’École des beaux-arts de Paris, Luc-Olivier Merson obtient en 1869 le premier grand prix de Rome de peinture d’histoire, titre qui lui permet de parfaire sa formation pendant quatre années en Italie. Artiste reconnu de son vivant, Merson expose régulièrement au Salon parisien, avant d’ouvrir l’éventail de son talent à la décoration et à l’illustration. Au-delà de son goût pour la peinture monumentale, il affirme sa dilection pour l’art religieux dont il bouscule les conventions, grâce à des sources iconographiques recherchées et des sujets rares. Entre Académisme et Symbolisme, Merson confirme sa prédisposition pour le dessin, privilégiant la ligne, tout en entretenant un caractère coloriste subtil et recherché. En s’affranchissant de l’influence de son père Olivier Merson, critique d’art, et en dotant ses réalisations d’archaïsme et d’idéalisme, Luc-Olivier Merson est désormais considéré à juste titre comme l’un des précurseurs du Symbolisme. L’étude de la vie et de l’œuvre de Luc-Olivier Merson permet de comprendre les choix esthétiques et les audaces d’un artiste, trop souvent – et hâtivement – qualifié de Pompier par l’historiographie du vingtième siècle. / In 1869, when a student at the École des Beaux-Arts de Paris, Luc-Olivier Merson received the Rome Prize in history painting. The award allowed him to complete his training with four years of study in Italy. A well-known artist in his own time, Merson showed regularly at the Paris Salon before broadening the scope of his creative activity to include decorative painting and illustration. Beyond his taste for monumental painting, he evinced a keen interest in religious art, whose conventions he overturned, making use of recondite iconographic sources and unusual subjects. Suspended between Academism and Symbolism, Merson displayed a penchant for drawing, always privileging line, even as he maintained a subtle and refined sense of color. Having emerged from the shadow of his father, the art critic Olivier Merson, and endowed his work with a self-conscious archaism and idealism, Luc-Olivier Merson might justly be classed among the precursors of Symbolism. By studying the life and work of Merson, we may come to understand the aesthetic choices and the audacity of an artist too often—and too hastily—termed “Pompier” in twentieth-century art historiography.

This research is an ethnographic case study that asks the questions “what is transformation?” and “how does art transform individuals and their communities?” The narrative describes key moments in the researcher’s journey to South Africa in search of answers to these questions. Findings describe the village of Hamburg’s developing art practice, and include the artists’ own voices and views on this topic. Hamburg is a Xhosa village in South Africa that has faced many challenges due to the spread of HIV/AIDS. One response to the impact of HIV/AIDS on family and economic structures has been the development of an extensive community-based art practice, including large communal tapestry work. To engage questions regarding how visual art transforms people, the researcher reviewed existing Western and Eastern literature on transformation, and compared this with the Southern ethnographic interviews conducted whilst living in the village of Hamburg, where she joined the women for two months as they made their art. The interviews, which were informed by feminist thinking and community based action research, are deeply moving, and form the data from which conclusions were drawn. It iii  was found that the gritty, embodied nature of this community’s experience with transformative art processes can perhaps stimulate more inquiry into transformative art practice within art education itself, that, to date, does not engage much with a deliberate practice for human transformation. Findings in this study can also broaden the existing, sometimes disembodied, academic understandings around transformation within educational, therapeutic and spiritual discourses, which, to date, include mostly linear, hierarchical models, as well as anecdotal descriptions from mostly White, male perspectives. As yet, there is not much inquiry outside of feminist discourse into women’s transformation, which tends to be more organic and community orientated. The researcher’s findings suggest that literature on transformation through art is needed within art education, which should include female, Black African experiences. The researcher’s conclusions are applied to classroom and studio practice, where she challenges educators, researchers and practitioners within art education to take the link between art and transformation much more seriously, as a powerful technology for growth, empowerment and resilience. Findings can also be applied to other disciplines such as feminism, art therapy, education, psychology and spirituality. / Graduate / 0273 / 0357 / 0621 / sadnams@uvic.ca

De 1726 à 1755, Jean-Baptiste Oudry (1686-1755), peintre du roi Louis XV, occupa diverses fonctions au sein des manufactures royales de tapisseries : peintre de modèles, directeur entrepreneur de Beauvais, surinspecteur des Gobelins. Selon Louis Gougenot (1761), son biographe de l’Académie royale de peinture et de sculpture, ces nominations lui apportèrent réputation et fortune. La production de Beauvais était destinée pour les riches aristocrates et bourgeois ; celle des Gobelins, pour le roi. La conséquence de cette différenciation peut se percevoir non seulement sur le plan administratif, mais aussi sur le plan artistique. Aussi, les œuvres produites n’avaient pas la même valeur économique et artistique. Par ricochets, la réception des modèles réalisés par Oudry ne fut pas la même. La tenture des Chasses royales tissée à Paris était considérée comme une œuvre majeure de sa carrière. Par ailleurs, son biographe louait les soins et la vigilance que le peintre apporta aux établissements en vue de « faire des tapisseries de première beauté » (Oudry). Dans divers mémoires administratifs, le peintre exprimait ses vues générales en matière d’art des lisses et expliquait les moyens à mettre en œuvre pour perfectionner et « donner aux ouvrages tout l’esprit et toute l’intelligence des tableaux » des maîtres. Or, la réception des tapisseries ne pas fit pas l’unanimité parmi les historiens de l’art au cours des XIXe et XXe siècles. Oudry fut en effet jugé acteur de la décadence de cet art textile décrit comme asservi à la peinture. C’est pourquoi il nous faut comprendre le contexte d’élaboration des principes artistiques développés par le peintre. C’est l’objet de cette étude. / From 1726 to 1755, Jean-Baptiste Oudry (1686-1755), painter of the king Louis the XVth, was appointed for different capacities at the royal manufactures of tapestries: painter of models, director of Beauvais, inspector of the Gobelins. According to Louis Gougenot (1761), his biographer at the royal Academy, these appointments gave him reputation and wealth. Tapestries from Beauvais were made for rich aristocrats and the upper middle-classes; tapestries from the Gobelins were for the king. The consequence of this hierarchy was visible not only from an administrative point of view, but also from an artistic point of view. Therefore the different productions did not have the same economical and artistic value. Indirectly, Oudry’s models weren’t considered with a similar attention. For example, the tenture of the Chasses royales woven at Paris was considered one of the most important work in his career. Furthermore, Gougenot praised Oudry for his care and attention to details at these two factories to make beautiful tapestries. In different administrative journals, Oudry expressed his general view of the art and explained the means to perfect and to bring to the tapestries, the spirit and the intelligence of masters’ paintings. Nevertheless, the reception of these tapestries were not favourably unanimous amongst the art historians 19th and 20th centuries. Oudry was indeed judged player of the degradation of this textile art described as subservient to painting. This is the reason why, it is important to understand the context of elaboration of the artistic principles that were developed by the painter. This is the purpose of this study.

Annotation: The work is dedicated to tapestries from Prague Castle collections, hanging in the State Rooms and the ones that are stored in Prague Castle depository. The tapestries always played an important role in decorating the interior and still help to create a festive atmosphere of this place, usually not accessible to the public. The author focuses on detailed identification of three baroque series known as Anthony and Cleopatra and Months of the year. The serie Anthony and Cleopatra dates back to the turn of the 17th and the 18th centuries. Convolutes of the tapestries of the cycle Months of the year (represented at Prague Castle in two ways - figurally and non-figurally) were made at the beginning of the 18th century as well as in the years 1728-1736. The tapestry on the theme of the life of Anthony and Cleopatra consists of eight pieces. Seven of them belong to an elementary part of Prague Castle collection, the eighth is in Vienna. The serie Months of the year has a similar history. It consists of ten pieces, nine of them are situated at Prague Castle, the tenth is again in Vienna. Longstory short, the work is dedicated to baroque tapestries that help to create genius loci of Prague Castle. After a brief introduction providing the informative insight into the issue, the explanation of the history...

Site selection decisions remains a complex yet crucial process for strong business performance. Despite the extensive number of publications in this field, the emergence of new data collection technique, improved location analytics, and changes in consumers’ preferences call for testing of new models and hypothesis. This study compares traditional site selection indicators (e.g. property size, proximities, competition, and demographic profiles) with novel site-selection indicators (e.g. environmental sustainability performance and socio-demographic characteristics from Tapestry data). By investigating a case study of Starbucks coffee stores in Los Angeles, we argue that environmental sustainability performance and socio-demographic Tapestry segments correlate with business performance indicators of small retail shops in two ways. First, higher sustainability scores result in increased foot traffic, and by extension increased business performance. Second, Tapestry segmentation stands as significant indicator of business performance in site selection modeling – specifically, by demonstrating the significant correlation between socio-demographic consumers’ segments and the number of visitors per location. The output of this study offers an alternative location-driven site selection method, important for businesses and key industry-players in sharpening location-allocation decision-making processes.