GRID AND COMPLEXITY : Analysis of the regular crisscrossing oflines in the art history
type: Distribution
access URL: https://theses.hal.science/tel-00690877
format: HTML
issued: 2026-05-20T21:50:12.651512
modified: 2026-05-20T21:50:12.544541

test_moissonnage_selune
type: Agent

GRID AND COMPLEXITY : Analysis of the regular crisscrossing oflines in the art history
type: Dataset
contact point: Organization
  fn: CCSD
keyword: modernism
keyword: modernisme
keyword: form
keyword: shsarthumanities-and-social-sciencesart-and-art-history
keyword: grid
keyword: theses
keyword: infoeu-reposemanticsdoctoralthesis
keyword: forme
keyword: grille
keyword: art
landing page: https://theses.hal.science/tel-00690877
description: The grid occupies a problematic place in art history. Critics consider it as an abstract structure, a pictorial sign or an originality mirroring the division between painting and (hi)story that look place at the beginning of the XXth. But cubism, which supposedly came first, appears in fact to be plural and ridden with classical echoes. Hence the concept of hinge and the necessity of defining the grid as a form, above ali (a possibility of structure, and one thal can make sense). Mondrian first turns the brunelleschian picture and then, forcing Braque, tries to put in phase flat representation and plan of representation. Under his eye, the abject becomes "division of the wall" and, to extrapolate, the grid is reduced to an architectural madel. Nevertheless, his final period suggests thal form can actually answer to a textile madel (plaiting). As for Matisse, he paints from the carpe!, which relies on knots and modules rather than li nes. The textile grid takes three aspects thal are very different in terms of extension and process. The architectural madel follows these three aspects. Aunique case centered on the knot creates a third madel: cartographie. Ils nodal variant (the marte/aire) can be found in the works of Mondrian (as an echo of the history of Dutch painting) and Braque (for formai reasons only). The relation ta the work of art, thal permits "fictioning", and ils anachronic nature explain the ahistoric quality of the form. With the help of psychology and anthropology, a strategy appears thal (following several criteria, among which the marte/aire as a schema) allows to scientifically study it at work (not just as a document), as a production-reception complex.
identifier: NNT: 2011STET2148
issued: 2026-05-20T21:50:12.571033
language: fr
modified: 2026-05-20T21:50:12.571039