Umfang:
525 Blätter
,
Illustrationen
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105 x 148 mm
Ausgabe:
Mikrofiche-Ausgabe Lille Atelier national de reproduction des thèses$h2012 2 Microfiches
Serie:
Lille-thèses
Inhalt:
Volume I, Texte -- Volume II, catalogue et planches -- Volume III, Annexes
Inhalt:
Cette étude dresse un pan ...
Inhalt:
This study presents an overview of the natural painting in the field of the Portuguese stylistics and iconography during modern period and more mainly for almost two centuries, XVII and XVIII centuries. It shows an art of the landscape and the still life at the same time dependent on European tendencies and autonomous by its constant nearness in the national historic and cultural context. The interdisciplinary approach, by bringing to light the Portuguese spirit and throught in a period of shocks, tends to reconsider the speech of the historians on the subordination of the Portuguese art in that of Spain. The nature through the study of the Portuguese paintings seems more original, endowed with feelings peculiar to a nation. The nature is, according to forms and different modes, a shape of expression of extreme feelings. The sign of an idealized nature, sometimes image of perfection, sometimes image of terror, reveals a grammar for which constructions integrate into this highly codified system of communication that is variety. These peculiarities characterize paintings of XVII as XVIII century. There is thus a real artistic tendency, which continued in the art of the nature of Portugal. That is why a separation of art of XVII and XVIII century, in that case precise, loses totally of its sense direction. The Portuguese history distinguishes itself from the French history. While this last one sets a period of absolutism and other one of the openmindedness, the second underlines two consecutive periods of permanent disorders after a century of gold and glory. XVI century is indeed a significant period for Portugal. It conditioned all the spirit of the people for centuries. These directions of research introduce again questionings on the validity of a term today problematic in France, that is the "baroque". In Portugal, the qualifier is used to characterize this long period of a part of XVII and XVIII centuries. It seemed to us more adapted to keep the "baroque" term to this period for which the slices of dates are not important and in the course of which natural was synonymic of feelings, passions, affects and extremely codified intelligent art. Without imposing the Portuguese painters on the side of the great masters of painting, as the Caravaggio or Poussin, our work allows to reconsider an art still unknown and too odten judjed without highly interest
Anmerkung:
Résumés en français et en anglais
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Bibliogr. f. 503-517. Notes bibliogr. Chronol. f. 496-501
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Die ursprüngliche Ausgabe ist eine mehrteilige Monografie
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Dissertation Université Charles de Gaulle 2011
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Dissertation Universidade de Lisboa 2011
Weitere Ausg.:
Erscheint auch als Druck-Ausgabe Le sentiment de nature dans la peinture "baroque" portugaise : de Baltazar Gomes Figueira, 1604-1674 à Joaquim Manuel da Rocha, 1727-1786 / Vanessa Fragoso [S.l.] : [s.n.], 2010
Sprache:
Französisch
Schlagwort(e):
Hochschulschrift
Mehr zum Autor:
Heck, Michèle-Caroline
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