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The Australian War Museum, women artists and the national memory of the First World War

Speck, C.
Fonte: UQ; Australia Publicador: UQ; Australia
Tipo: Conference paper
Publicado em //2009 Português
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At the end of the First World War most people’s thoughts turned to putting the war behind them, but a small group of military historians began work in earnest on developing a national collection of art and other memorabilia related to the war. This paper explores how in the immediate postwar years women artists attempted with varying degrees of success to have their portrayals of the war included in the new national collection. Artists Hilda Rix Nicholas, Vida Lahey, Dora Ohlfsen and Dora Meeson all offered work to the new War Museum; some were successful, others less so. Rix Nicholas’s paintings of soldiers were rejected but her grief stricken Mother of France was accepted; Vida Lahey’s painting of women — some mourning, some rejoicing was not. Dora Ohlfsen’s exquisite medallions of soldiers were not acquired, whereas Meeson and her partner George Coates were commissioned to produce a painting of historical moment of Australia’s Generals in Egypt. This paper examines these paintings and their mixed fortunes. What emerges is the careful shaping of national memory around Charles Bean’s vision for the Australian War Museum, and the limited place women’s art had in this new collection, and how the iconography of the women’s art collected differed from that in the major Australian galleries at this time.; Catherine Speck

Changing fortunes: the history of China Painting in South Australia.

Smith, Avis Carol
Fonte: Universidade de Adelaide Publicador: Universidade de Adelaide
Tipo: Tese de Doutorado
Publicado em //2009 Português
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This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design...

Bildende Künstlerinnen im Berliner "Sturm" der 1910er Jahre; Woman artists at "Der Sturm" in Berlin in the 1910s

van Rijn, Maaike
Fonte: Universidade de Tubinga Publicador: Universidade de Tubinga
Tipo: Dissertação
Português
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Unter dem Namen „Der Sturm“ gründete der Berliner Verleger Herwarth Walden 1910 eine Wochenschrift für Kultur und die Künste. Diese wurde zwei Jahre später um eine Galerie mit regelmäßigen Ausstellungen in Berlin und an anderen Orten Europas ergänzt. „Der Sturm“ wurde für die Kunst des Expressionismus zum zentralen Ort, an welchem Ideen zur Abstraktion, zur Aufgabe einer neuen modernen Kunst und zur Internationalisierung kultureller Bewegungen diskutiert wurden. Vor allem handelt es sich jedoch um ein Netzwerk von Künstlerinnen und Künstlern, dessen Fäden bei Nell und Herwarth Walden (1876-1941) zwei Jahrzehnte lang zwischen 1910 und 1932 in der Berliner Potsdamer Straße zusammenliefen. Erweitert um eine „Sturm“-Schule (1916) und eine „Sturm“-Bühne (1917) sowie weitere, teilweise nur für kurze Zeit existierende Kulturvermittlungsformate, trat der „Sturm“ mit dem ambitionierten Ziel auf, durch die Kunst die Gesellschaft reformieren zu wollen. Heute berühmte Größen der klassischen Moderne wie Wassilij Kandinsky, Franz Marc, Oskar Kokoschka, August Macke, Marc Chagall oder Paul Klee wurden maßgeblich von Herwarth und Nell Walden protegiert und durch ihre Ausstellungen und Kontakte zum „Sturm“ bekannt. Obwohl in den Ausstellungslisten und in der Zeitschrift auch viele bildende Künstlerinnen mit Holzschnitten und Zeichnungen...

Igualdad y diferencia en la profesionalización de las artistas: Comentarios a los textos de Alejandra Val Cubero y Natalia Izquierdo; Equality and difference in the professionalization of women artists: Comments on the Texts of Alejandra Val Cubero and Natalia Izquierdo

Tobío Soler, Constanza
Fonte: Universitat Autònoma de Barcelona Publicador: Universitat Autònoma de Barcelona
Tipo: info:eu-repo/semantics/publishedVersion; info:eu-repo/semantics/article
Publicado em //2013 Português
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A partir de los conceptos de igualdad y diferencia, se discuten las formas de profesionalización de cuatro mujeres artistas españolas. Solo en el caso de Maruja Mallo se observa una trayectoria equiparable a la de los hombres artistas, tanto en lo que se refiere a la formación académica en las escuelas de bellas artes, como al reconocimiento por parte de la crítica especializada, a la autonomía económica que le confiere su actividad como pintora y a la separación de su vida personal y amorosa respecto de su trabajo profesional. En los otros tres casos, los de la pintora Amalia Avia y las escritoras Carmen Martín Gaite y Carmen Laforet, hay una tensión entre la vida artística y la vida personal, en especial en lo que se refiere a la relación con los hombres, que se resuelve en supeditación, evasión o conflicto; The paths to professionalization of four Spanish women artists are discussed from an equality-difference perspective. Maruja Mallo is the only woman with a trajectory comparable to that of male artists in terms of formal fine arts training, recognition by specialized critics, economic independence through painting, and the separation between her personal and sentimental life and professional activity. In the case of the painter Amalia Avia and the writers Carmen Martín Gaite and Carmen Laforet...

Cultural materialism and the art of Latinas in New York : creating a revolutionary visual arts discourse on ethnicity, women's rights, exile and the Latino/a disapora

Aponte, Solmerina
Fonte: Universidad de Alcalá. Servicio de Publicaciones Publicador: Universidad de Alcalá. Servicio de Publicaciones
Tipo: Artigo de Revista Científica Formato: application/pdf
Português
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The aim of this article is to discuss the aesthetic visual discourse of hybridity developed by contemporary socially-engaged Latina artists of the New York diaspora. The objective is to highlight the common discursive elements deployed by these artists with the purpose of addressing the social and political issues that affect them as women of color in the United States. Based on the fundamentals of Cultural Materialism, the artists integrate Third World feminism and a consciousness of hybridity. This theoretical approach has served as a basis for the development of the “bilingual” discourse that has come to characterize the NY Latina artists’ distinct aesthetic. For Latin America and the Caribbean, the arts have historically provided a formidable venue for addressing social concerns and a creative way for artists to interpret them. The symbiotic bond created between art and politics has become a cultural force and tradition in the history of struggle within the constituent countries of these regions, and would later provide the basis for the visual discourse manifested in the works by the socially-committed Latin American and Caribbean women artists residing in the United States. Since the 1960s, the struggle for gender, cultural and ethnic recognition in U.S. society became crucial on both the social and political fronts. U.S. Latina visual artists...

Images of Artistic Agency by Sixteenth and Seventeenth Century Women Artists

Vernon, Kelley J.
Fonte: Universidade Rice Publicador: Universidade Rice
Tipo: Thesis; Text Formato: 74 pp; application/pdf
Português
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Sometime around the year 1630, Artemisia Gentileschi, a famed Baroque woman artist, painted one of her most intriguing masterpieces, the stunning Self-Portrait as the Allegory of Painting. As a personal statement, the image has been unrivaled to this day, its daring symbolic formula unmatched by any other artist past or present. The focus of this thesis is to define the interactions between Artemisia's Self-Portrait and self-portraits of sixteenth century women artists, most notably Sofonisba Anguissola and Lavinia Fontana. In this manner, the extraordinary implications of Artemisia's Self-Portrait become even more pronounced. Likewise, the thesis also explores instances of "countering culture" in the works of sixteenth century women artists, highlighting moments when their own self­images progressed beyond the normal bounds of social definitions. Finally, the essay explores the possible symbolic meanings of Artemisia's Self-Portrait within the realm of the court of Charles I of England, its initial owner.

Six major women pianists: Clara Schumann, Teresa Carreno, Myra Hess, Clara Haskil, Alicia de Larrocha, and Martha Argerich

Sohnn, HunJu
Fonte: Universidade Rice Publicador: Universidade Rice
Tipo: Thesis; Text Formato: 100 p.; application/pdf
Português
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The six artists presented in this paper hold important places in the world of the performing arts. Their outstanding talent and perseverance have brought them world recognition. Clara Schumann, the pioneer of women pianists, performed throughout her life, receiving an enthusiastic reception by the public. Living in an era when women performers were scarce, Clara Schumann was accepted on an equal basis to any male artist. Teresa Carreno, known for her extremely passionate and bravura playing especially in her youth, captivated her audiences wherever she went. Despite a tumultuous personal life, Carreno enjoyed tremendous success in her own life time. Myra Hess led a blossoming career in England and on the Continent before having a grand success in the United States. She led the National Gallery Concerts during World War II, which brought about much appreciation from her countrymen. Clara Haskil's life was filled with ill health and World War II made it difficult for her to gain recognition; she only launched a career in her 50s. By then, she performed with the best of orchestras and conductors, enjoying the success due her much earlier in her life. Alicia de Larrocha, known as the Queen of Spanish Music, has performed widely since the late 1960s. She has been invited to perform much of Mozart's output besides the Spanish repertoire. Despite her success on stage...

Die Organisationsgeschichte der Künstlerinnen in Deutschland von 1867 bis 1933; The History of the Organisations of Women Artists in Germany between 1867 and 1933

Matz, Cornelia
Fonte: Universität Tübingen Publicador: Universität Tübingen
Tipo: Dissertation; info:eu-repo/semantics/doctoralThesis
Português
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Die Darstellung der Organisationen von Künstlerinnen, die sich in Deutschland zur Vertretung der Berufsinteressen von kunst- und kunstgewerblich tätigen Frauen zwischen 1867 und 1933 gegründet haben, leistet einen Überblick über die wirtschaftlichen, kunst- und frauenpolitischen sowie kulturellen Aktivitäten der verschiedenen Korporationen. Dies geschieht einerseits anhand von regionalen Fallbeispielen (wie dem 'Künstlerinnenverein München' (gegr. 1882)) und andererseits anhand der drei Verbände: der konservative 'Bund deutscher und österreichischer Künstlerinnenvereine' (gegr. 1908), der fortschrittlichere 'Frauenkunstverband' (gegr. 1913) und die 'GEDOK' (Gemeinschaft Deutscher und Österreichischer Künstlerinnenvereine aller Kunstgattungen, gegr. 1926/27). Unter den verantwortlichen Mitgliedern werden hervorgehoben: Eugenie Kaufmann, Dora Horn-Zippelius, Käthe Kollwitz, Rosa Schapire, Ida Dehmel und Elsa Bruckmann. Die Berufsorganisationen sind drei Zeitabschnitten zuzuordnen: Die frühen Gründungen auf lokaler Ebene entstanden vor dem Hintergrund der Frauenbildungs- und Frauenerwerbsbewegung. In Verbindung mit höfischen und großbürgerlichen Kreisen ergriffen diese Selbsthilfemaßnahmen, um die wirtschaftliche Lage...

Painting ghosts - Australian women artists in wartime

Speck, C.
Fonte: Craftman's House; 11 Central Boulevard, Fishermans Bend, Vic 3207 Publicador: Craftman's House; 11 Central Boulevard, Fishermans Bend, Vic 3207
Tipo: Livro
Publicado em //2004 Português
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Introduction: War and peace. The First World War: 1. Official war art: where are the women? -- 2. Behind the lines -- 3. Women on the home front -- 4. Grace Cossington Smith and the politics of war -- 5. Picturing men making history -- 6. War’s end: the aftermath. The Second World War: 7. The Second World War: women artists respond -- 8. Nora Heysen’s view from the Pacific region -- 9. Stella Bowen’s view from Britain -- 10. Sybil Craig’s view from the home front -- 11. Hope and tears, love, romance and lots of hard work -- 12. Peace at last -- Postscript: Wendy Sharpe in East Timor.

Charting the territory : how female artist/teachers balance their artistic practice with their institutional responsibilities as teachers /

Murao, Grace S.
Fonte: Brock University Publicador: Brock University
Tipo: Electronic Thesis or Dissertation
Português
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This r\.~et.lrch examined ho\\' ~ight \\'omen artists \\'ho t~ach at the uni versity and college level, balance thcir artistic practic~ and their institu tional responsibilities as tcachers. This thesis reprt.~ents the culmination of \\'ork for my second graduate degree. For my first degrCt! on th~ grad uat~ level, I concentratoo on d~veloping my artistic practice. This ~Iaster's Degree in Education is no k~ important to m~. In pursuing studies in the field of education I \\'anted to understand my rol~ as both an educator and an artist and in the process I uncovered the interplay of race, class, and gender at \\'ork in th~ classroom. Coming from a \\'orking-class, immigrant background \\'here higher education \vas vie\\'cd as a stepping stone that \"ould enable my siblings and me a greater spectrum of opportunities, I \\'as at last able to understand my o\\'n educational experiences, more clearly. I discovered ho\\' d\.~ply I internalized the racism, sexism and class discrimination, I submitted to in my history as a student. Becoming a\\'are about the social forc\.~ at "'ork \\'ithin my day to day life has provided me \\'ith instruments \\'hich I can usc to examine and respond to these inequities as I confront them in th~ future. This \...

Conflicted Selves: Women, Art, & Paris 1880-1914

Johnson, Julie Anne
Fonte: Quens University Publicador: Quens University
Tipo: Tese de Doutorado Formato: 9568712 bytes; application/pdf
Português
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Scholars describe fin-de-siècle Paris as a city of dualities, and examine its past as a series of crises or a tale of burgeoning optimism and opportunity. Historians of women and gender have noted the limitations of this dualistic approach, and have explored new avenues of interpretation. Specifically, they have shown how the combination of positive and negative impulses created a dynamic space in which women could re-imagine and re-articulate themselves. While this approach illuminates the possibilities that existed for women in a complex urban landscape, it also indicates that fin-de-siècle Paris was a contested city, one fraught with challenges for women living in the French capital. If the mingling of crises and belle époque culture had stimulating results for women’s emergence into urban spaces, it had confusing and conflicting effects as well. My thesis shows how fin-de-siècle Paris was a contradictory city for women artists, at a time when both opportunities and constraints in their profession were at a premium. I examine the ways in which several notable women in the arts – painters Gwen John, Suzanne Valadon, and Romaine Brooks, sculptor Camille Claudel, and writer Rachilde – traversed this unsettling path...

Mulheres artistas no Brasil : um estudo sobre Marina Caram e Odilla Mestriner nos acervos públicos de São Paulo; Women artists in Brazil : a study about Marina Caram e Odilla Mestriner in public collections of São Paulo

Vanessa Lúcia de Assis Rebesco
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Dissertação de Mestrado Formato: application/pdf
Publicado em 16/01/2015 Português
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A presente pesquisa tem como objetivo analisar as obras de Marina Caram (1925- 2008) e Odilla Mestriner (1928-2009) produzidas nos anos 60 e 70 e que pertencem aos acervos da Pinacoteca do Estado de São Paulo e do Museu de Arte Moderna de São Paulo. Pretende ainda examinar os processos de musealização dessas obras e estabelecer interlocuções entre o trabalho dessas artistas e o de seus contemporâneos. Além disso, interessa-nos investigar as condições de produção de Mestriner e Caram na década de 60 e 70, considerando suas especificidades plásticas, técnicas e poéticas. Para isso, adotaremos uma postura que não concorda com a existência de uma suposta "identidade feminina", pelo contrário, a noção de feminilidade será tomada como uma fala produzida histórica e socialmente.; This research aims to analyze the works of Marina Caram (1925- 2008) and Odilla Mestriner (1928-2009) that were produced in the 60's and 70's and belong to the collections of the Pinacoteca do Estado de São Paulo and the Museu de Arte Moderna de São Paulo. It also aims to examine the musealization processes of these works and establish dialogues between the work of these artists and their contemporaries. In addition, we are interested in investigating the Mestriner and Caram production conditions in the 60's and 70's considering their plastic...

Dramatização dos corpos : arte contemporânea de mulheres no Brasil e na Argentina; Dramatizing the bodies : contemporary women artistis in Brazil and Argentine

Luana Saturnino Tvardovskas
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 03/06/2013 Português
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Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze.; This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory...

Embodiments: a brief approach to Portuguese women video art

Furtado, Teresa
Fonte: Licorne Publicador: Licorne
Tipo: Artigo de Revista Científica
Português
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The Act Out event is organized around the work of today’s Nordic women video artists, but in this essay I would like to propose a feminist approach to a number of video pieces by Portuguese women artists concerning issues related to gender, class and nationality, among other social-political themes, which they have in common with their Nordic counterparts joining us here today. There's not a long history of Portuguese video art or a Portuguese women's video art tradition related to feminist issues, like in Northern European countries. However, it's possible to trace features in contemporary Portuguese women video works to the third wave inclusive feminisms, namely the importance of women identities' multiplicity and difference and the complex interrelatedness between codings of gender, race, nationality, language, class, etc.

Act Out: Performative Video by Nordic Women Artists

Furtado, Teresa Veiga; CRISTÓVÃO, Manuela; LINDER, ANNA; MACEDO, ANA GABRIELA; LAN, ANE; GILMOR, JANE; KAISEN, JANE JIN; RYTELL, JOANNA; ARNELL, MALIN; CUENCA, LILIBETH; OLSEN, SANNE KOFOD; KARLSTROM, LYNNE; REINHARD, AURORA; LIDEN, KLARA; JOÂO MANUEL,
Fonte: Licorne Publicador: Licorne
Tipo: Trabalho de Conclusão de Curso
Português
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Act Out: Performative Video by Nordic Women Artists was a project of the Centre of Art History and Artistic Investigation (CHAIA) of the University of Évora (UE). CHAIA researchers and teachers at the UE Department of Visual Arts and Design (DAVD) Manuela Cristóvão, Artist and Auxiliar Professor, and Teresa Furtado, Artist and Assistant Professor, were responsible for conceptualizing and organizing this event which was part of the DAVD investigation line ‘Art and Society at CHAIA. This research aims to study the production of video art by women video artists, its reception by the audience and its contribution to art history. The project key associate was the curator and artist Anna Linder from Filmform, an institution dedicated to the promotion, distribution and preservation of experimental film and video in Sweden.Nordic video art, and specifically high quality video art made by Nordic women artists, is scarcely known in the Portuguese cultural domain. This was one of the main reasons that drove us to conceive ACT OUT as a discussion, interaction and presentation forum to inquire into today's women's performative video art in Nordic countries, exploring such issues as racial and gender identity, politics, and oppression.

Igualdad y diferencia en la profesionalización de las artistas. Comentarios a los textos de Alejandra Val Cubero y Natalia Izquierdo

Tobío, Constanza
Fonte: Universidade Autônoma de Barcelona Publicador: Universidade Autônoma de Barcelona
Tipo: Artigo de Revista Científica Formato: application/pdf
Publicado em //2013 Português
Relevância na Pesquisa
37.64521%
A partir de los conceptos de igualdad y diferencia, se discuten las formas de profesionalización de cuatro mujeres artistas españolas. Solo en el caso de Maruja Mallo se observa una trayectoria equiparable a la de los hombres artistas, tanto en lo que se refiere a la formación académica en las escuelas de bellas artes, como al reconocimiento por parte de la crítica especializada, a la autonomía económica que le confiere su actividad como pintora y a la separación de su vida personal y amorosa respecto de su trabajo profesional. En los otros tres casos, los de la pintora Amalia Avia y las escritoras Carmen Martín Gaite y Carmen Laforet, hay una tensión entre la vida artística y la vida personal, en especial en lo que se refiere a la relación con los hombres, que se resuelve en supeditación, evasión o conflicto.; The paths to professionalization of four Spanish women artists are discussed from an equality-difference perspective. Maruja Mallo is the only woman with a trajectory comparable to that of male artists in terms of formal fine arts training, recognition by specialized critics, economic independence through painting, and the separation between her personal and sentimental life and professional activity. In the case of the painter Amalia Avia and the writers Carmen Martín Gaite and Carmen Laforet...

Reflexiones sobre la actuación y obra de Lía Correa Morales en el Museo Yrurtia; Reflexiones sobre la actuación y obra de Lía Correa Morales en el Museo Yrurtia; Some reflections on Lía Correa Morales work and oeuvre in the Museo Yrurtia

Gluzman, Georgina
Fonte: Universidade de São Paulo. Museu Paulista Publicador: Universidade de São Paulo. Museu Paulista
Tipo: info:eu-repo/semantics/article; info:eu-repo/semantics/publishedVersion; Formato: application/pdf
Publicado em 01/12/2012 Português
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A história das mulheres artistas na Argentina ainda não foi escrita. No entanto, há um interesse crescente de pesquisadores em compreender as trajetórias de várias artistas que permanecem ocultas nos relatos historiográficos tradicionais. Uma das artistas mais importantes do campo artístico na Argentina dos anos 1920 e 1930 foi Lía Correa Morales, que participou d os salões de maior prestígio do país e foi ganhadora de vários prêmios. A morte de seu marido, o célebre escultor Rogelio Yrurtia, ocorrida em 1950, permitiu que a artista dirigisse um museu, uma situação sem precedentes para a época. No entanto, a correlação dessa conquista parece ter sido o abandono de sua bem-sucedida carreira artística. Neste artigo, abordamos esta fase da vida de Lia Correa Morales, por meio da análise de documentos pessoais e oficiais, e meditamos sobre a presença da artista no museu que liderou durante mais de vinte anos e onde está a maior parte de sua própria produção artística.; La historia de las mujeres artistas en la Argentina aún no ha sido escrita. Sin embargo, existe un interés creciente por parte de los investigadores en conocer las trayectorias de diversas figuras invisibilizadas en los relatos historiográficos tradicionales. Una de las artistas más relevantes del campo artístico argentino de las décadas de 1920 y 1930 fue Lía Correa Morales...

The position of women artists within the aesthetic community

Kalmbach, Ann
Fonte: Rochester Instituto de Tecnologia Publicador: Rochester Instituto de Tecnologia
Tipo: Tese de Doutorado
Português
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n/a

Muse as artist: Selected women artists past and present

Mantooth, Jennifer R.
Fonte: Rochester Instituto de Tecnologia Publicador: Rochester Instituto de Tecnologia
Tipo: Tese de Doutorado
Português
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The purpose of this thesis was to create an electronic book on the subject of women in the visual arts. The search for a paradigm in the design of such a "book" is currently being explored within the multimedia community of computer graphic designers. As new technology appears at an ever increasing rate, the need to disseminate information rapidly also increases. It is therefore imperative that graphic designers interject themselves into the process because it is through the designer that commmunication will flow to the prospective user. The quality of the design work will determine the quality of the communication.

A viagem a Paris de artistas brasileiros no final do século XIX; The trip to Paris by Brazilian artists of the 19th century

Simioni, Ana Paula Cavalcanti
Fonte: Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas Publicador: Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas
Tipo: info:eu-repo/semantics/article; info:eu-repo/semantics/publishedVersion; ; ; ; ; Formato: application/pdf
Publicado em 01/06/2005 Português
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Este artigo propõe-se a analisar o papel da Académie Julian, uma academia privada que recebeu grande parte dos artistas brasileiros que aportaram em Paris entre o final do século XIX e o início do século XX. Três temas são aqui abordados: a formação recebida; a importância da instituição para as artistas do sexo feminino e o modo como as novidades estéticas que despontavam em Paris foram absorvidas e reinterpretadas pelos artistas patrícios que para lá se dirigiram.; This paper analyzes the role the Académie Julian, a private academy, played as it received a great part of artists who went to Paris between the end of the 19th and the beginning of the 20th century. Three themes are discussed: what they studied, the importance of the institution for the female artists and how esthetic novelties that were cropping up in Paris at the time were absorbed and reinterpreted by those artists.