L’art décoratif qui émerge à la fin de la République romaine sous la forme du trompe-l’œil architectural est fascinant par la technicité nouvellement éprouvée pour représenter un espace tridimensionnel. La perspective y est une composante majeure mais elle est assistée par d’autres innovations tout aussi essentielles. La connaissance de l’impact lumineux sur la matière et la capacité à suggérer les volumes contribuent efficacement aux exigences de la mimesis. D’autres usages picturaux restent mystérieux et leur fin se dérobe à nos regards trop jeunes de deux millénaires.La diversité et la richesse des matériaux rassemblés dans ces décors inspirés de plusieurs univers s’apparentent à la notion de varietas ou poikilia, ce goût délibéré pour la bigarrure. Pierres précieuses et métaux brillants, bois exotiques, écailles de tortues et ivoire, textile lourd et verre translucide y rivalisent avec la multitude des marbres polychromes imaginaires ou d’origine souvent lointaine. La valeur signifiante de ces parois imagées passe aussi par la distribution des couleurs – austeri ou floridi d’après la classification de Pline l’Ancien. Les lamentations de l’architecte passéiste Vitruve comme ses prescriptions pragmatiques nous permettent de saisir quelques aspects de la polysémie des couleurs. Souvent multiples par la combinaison d’éléments juxtaposés ou mêlées en une surface multicolore, elles daignent parfois endosser modestement le monochrome pour orner avec élégance une salle entière.La singularité de ce système décoratif appelé IIe style est accentuée par le fait qu’il apparaît subrepticement à l’aurore du Ier siècle avant notre ère pour disparaître tout aussi furtivement, avant même le trépas de ce siècle, avec l’émergence du nouveau langage visuel de l’art augustéen. / A new decorative art appears at the end of the Roman Republic: the architectural trompe-l'oeil. The new techniques used to represent the three dimensions of space are fascinating. Perspective is the major one, but other complementary innovations are just as essential. The perfect command of how light impacts on matter and the ability to suggest volumes efficiently meet the requirements of the mimesis. Certain other painting techniques however still remain mysterious to us after two thousand years.The diversity and magnificence of the materials gathered in these decors inspired from several sources evoke the concept of varietas or poikilia (the deliberate preference for the multi-coloured). Precious stones and shiny metals, exotic woods, tortoiseshells and ivory, heavy textile and translucent glass rival the multitude of polychromatic marbles either imaginary or often coming from far away. The meaning of these painted walls is also expressed through the distribution of colours - austeri or floridi according to Pliny the Elder's classification. Conservative Vitruvius' lament as well as his pragmatic advice enable us to understand some aspects of the colours' polysemy. Often multiple through the combination of various elements either side by side or mixed together, forming a multi-coloured area, they sometimes modestly condescend to monochrome and elegantly decorate a whole room.This decorative art is all the more singular that it appears furtively at the dawn of the first century and disappears as furtively even before the end of that same century, with the emergence of the Augustan art as a new visual language.

Background : Acute otitis media (AOM) is one of the most common childhood infections. The pathogenesis of otitis media is complex. However, Eustachian tube dysfunction stands out as the single most important factor. Since the bony part of the Eustachian tube is located in the temporal bone, the position of this bone may affect its function. Osteopathic practitioners use gentle cranial techniques to evaluate presence of temporal bone dysfunction describe as mobility restriction of this bone. Purpose: To investigate if there is a relationship between temporal bone dysfunction as evaluated by osteopathic practitioners and AOM in young children between 6 and 30 months of age. Methods: Sixty-five children, 6 to 18 month [i.e. months] of age, and without prior history of AOM were included in this prospective cohort study. Baseline potential confounders and temporal bone status were evaluated. Children were followed prospectively during the cold season in Canada (September 2009 to April 2010). Occurrences of AOM as diagnosed by family physicians, blinded to temporal bone status of the child, were recorded. Multi levels logistic regression was used to identify AOM risk factors. Results: Severe temporal bone mobility restriction was identified in 23 children (35 %). Results revealed that 48.3 % of the temporal bone with severe dysfunction and 28.3 % of those without severe dysfunction have experienced at least one AOM episode. Multi levels logistic regression identified the following as statistically significant risk factors for AOM: severe temporal bone dysfunction (OR 4.5, 95 % CI 1.72-11.81, p=0.003) and pacifier use (OR 6.9, 95 % CI 1.88-25.71, p9.005). Age (OR 0.17, 95 % CI 0.07-0.44, p=0.001) is a protective factor.

I am creating this body of work based on how we as a society interact and utilize our every day valuable possessions. These would consist of personal items such as our keys, wallets and purses, As well as how well we are able to hide them from strangers, insofar as to where we personally choose to place them. It's interesting how many of us can be lackadaisical in this regard and as a result, many times don't carefully think about where we choose to place our valuable objects, until we lose them or worse, have them stolen.I am exploring the more thoughtful placement of these personal type possessions in our every day life, and how we have heretofore attempted to conceal them.

Under tio veckor har jag arbetat med skapandet av kollektionen Blandband. Utgångspunkten var ränder och lura ögat. Jag ville undersöka vad som utgör en rand och hur en tredimensionell rand ser ut. Redan i början av arbetet satte jag en färgskala bestående av dels kulörta, starka färger och dels två nyanser av grått samt svart och vitt. Jag angrep arbetet med hjälp av en designmetod bestående av fem faser: Målsättning och research, Idéutveckling, Konceptutveckling, Realisering, Presentation och kommunikation. Färgpaletten, målsättning och moodboard som togs fram under första fasen fungerade tillsammans genom hela processen som en bas som jag kunnat stödja mig mot. Efter att idéer och koncept utvecklats började en kollektion ta form. I kollektionen Blandband ingår tre mönster; Samantha, Tommy och Lena, i vardera två färgställningar, dur och moll. Kollektionen är digitaltryckt på tre olika bomullskvaliteter. I den här rapporten redovisar jag mitt examensarbete Blandband i ord och bild.Throughout ten weeks I have been creating the Blandband collection. The starting point was stripes and trompe l’oeil. I wanted to explore what constitutes a stripe. In the beginning of the project I decided on a color palette containing partly of vibrant colors, and partly two shades of gray, black and white. I have used a basic design method with five phases: Research and Positioning, Concept generation, Concept development, Concept realisation, Presentation and Communication. The collection Blandband consists of three patterns: Lena, Samantha and Tommy, each pattern in two different colorways. This is the report of my bachelor thesis Blandband. / Program: Textildesignutbildningen

This dissertation is an exploration of Charles Bird King’s Gallery of Paintings. The Gallery opened in 1824 and, aside from a brief hiatus in the mid-1840s, was open to the public through the end of the antebellum era. King, who trained in London at the Royal Academy and under the supervision of Benjamin West, presented to his visitors a diverse display that encompassed portraits, genre scenes, still lifes, trompe l’oeils and history paintings. Though the majority of the paintings on display were his original works across these various genres, at least one third of the collection was made up of copies after the works of European masters as well as after the American portraitist Gilbert Stuart. This study is divided into four chapters. In the first, I explore late-colonial and early-republic public displays of the visual arts. My analysis demonstrates that King’s Gallery was in step with a tradition of viewing that stretched back to John Smibert’s Boston studio in the mid-eighteenth century and created a visual continuity into the mid-nineteenth century. In a second chapter, focused on portraiture, I examine what it meant to King and to his visitors to be “American.” The group of men and women King displayed in his Gallery was far more diverse than typical for the time period. King included many prominent politicians, but no American President after John Quincy Adams (whom King had painted before Adams’ election). Instead he featured portraits of many men of commerce as well as prominent women and numerous American Indians. In the third chapter, I look at a group of King’s original compositions, genre paintings. King’s style in this category was clearly indebted to seventeenth-century Dutch tradition as filtered through an eighteenth- and early-nineteenth-century British lens, in particular the works of Sir David Wilkie. My final chapter continues the exploration of Dutch influences over King’s work. These paintings draw together the themes of King’s sense of humor, his attitudes towards patronage and his methods of circumventing inadequate patronage through the establishment of the Gallery. Finally, they prompt us to reconsider the importance of European precedents in our understanding of how artists and viewers worked together to establish an American visual cultural dialogue. / text

"Urban Legends: The South Bronx in Representation and Ruin" examines the construction of the South Bronx in the American imagination during the 1970s and 1980s--a time when the South Bronx was synonymous with the failures of urbanism. The project attempts a multidisciplinary excavation of the cultural manifestations of urban ruin as articulated through the histories, literatures, and visual arts produced within and inspired by the ruins of the Bronx. The dissertation contends that Bronx ruins offered a site for visual artists, writers, and photographers to create new ways of understanding the production and perception of urban environments, while shaping the forms and styles that these creations took. The project theorizes the emergence and legacy of these forms alongside what it terms "municipal art": public works of city governmental bodies which, themselves, responded to ruin, and that might also be read as art. The dissertation's first part places the building cuts of the artist Gordon Matta-Clark in dialogue with the trompe l'oeil window decals of New York's "Occupied Look" program. It argues, on one hand, that Matta-Clark's artworks employ the tactics and effects of trompe l'oeil, and, on the other, that the seemingly failed "Occupied Look" project presents, upon close examination, vastly more interesting questions about temporality, duration, stasis within the built environment. The dissertation's second part views 1980s New York City Department of Finance tax assessment photographs within and against documentary and conceptual art contexts to reveal aesthetic debts owed by photographers and artists to "administrative" or systematic modes. The dissertation argues that these tax photos, despite their empirical intention, are inevitably productive of narrative, and demand an empathetic model of viewership that gestures at historic ruin-gazing while puncturing mythological understandings of urban ruin. The dissertation's third part examines how the popular fiction of Tom Wolfe and Don DeLillo imagined the Bronx built environment. The dissertation argues that the infrastructures that animate these portions of their fiction--abhorred in one and celebrated in the other--bind the South Bronx to city, making it less an alienated nowhere than one that is intimately tied to the world around it.

Zugl.: Trier, Univ., Diss., 2003

My final thesis exhibition, Fashionable Art, opens up a link between art and fashion. I used clay as my primary medium to create hyper-realistic handbags in the style of Trompe l'oeil. I am interested in placing art in fashion settings and fashion in art settings. In the show, I placed many purses on pedestals for a gallery setting, in a glass case for a purse shop setting and also placed large photos in a fashion photo shoot setting. I am concerned with creating an environment that celebrates the handbag from just an accessory to an art object. By using clay as my primary media, the purse becomes a more permanent representation. I am able to freeze in time a small piece of our cultural timeline. I am interested in creating these hyper-realistic works because I want the viewer to be led into thinking these are real purses and to explore the idea of fashion being more than just a piece of clothing or accessory, but also the history and affect it has on each of us, big or small.

Diss.--Faculteit der Letteren--Leiden--Rijksuniversiteit, 1989.

Made available in DSpace on 2016-12-08T16:19:04Z (GMT). No. of bitstreams: 1 AtilaRibeiroregiani.pdf: 2518398 bytes, checksum: 9c0777c6641e381ddcb213a22e55c281 (MD5) Previous issue date: 2008-12-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação se propõe a investigar as relações entre o trompe l'oeil e a algumas experimentações em arte contemporânea. A análise recai sobre as relações travadas entre o espectador e a obra, retomando o duelo entre Zêuxis e Parrásius, o relato de Giotto enganando seu mestre, dentre outros, bem como a relação que algumas obras recentes impõem ao espectador, obras como After Sherrie Levine de Mandiberg, Sleep de Warhol, 300 toneladas de Sierra, etc. Não se trata de um retorno ao ilusionismo pictórico, ou a formulação de novas formas ilusórias. Contrário a esta leitura, mais freqüente do tema, não se entende o trompe l'oeil como o uso de artifícios pictóricos para exacerbar o ilusionismo, mas como um intrincado jogo de relações. Sendo assim, se analisam algumas características do trompe l'oeil para compreender como estas estão presentes em obras contemporâneas. Estas podem ser definidas como a sobreposição de sentidos e superfícies que geram uma dialética colocada atrás na obra e não nos seus elementos internos. Outra característica é a semelhança, sendo esta uma construção que o trompe l'oeil evidencia como tal, ao propor paradoxos imagéticos, que direcionam o olhar para o processo de fruição, pensando-o. Parte-se do espectador para a análise aqui realizada, pois sua crença inabalável de que aquilo que se vê é 'real' ou 'verdadeiro' é um elemento fundamental dessa fruição. Tal crença inabalável que o leva a tentar adentrar a obra relaciona-se, de certo, com a alucinação psíquica. Todavia, diferentemente desta, o trompe l'oeil ocorre a partir da consciência, e não apesar da mesma. Em sua ironia ou em seu agudo pensamento, abala as crenças na realidade como fato contínuo e no real como instância inabalável