bluuebunny/crossref_metadata_2025 huggingface dataset:
La mort d’Hippolyte sur un vase apulien inédit
Authors: Chevallier Marie-Claude
Published: June 2021

The Death of Hippolyte on an unedited Apulian Vase.

Today, very few painted Greek ceramic vases illustrate the death of Hippolytus, Theseus’s son. All of them are Italiot artefacts, from Southern Italy and Sicilian workshops. The aim of this article is to study a recently discovered scene. On one of the sides of a calix-shaped krater, a quadriga driven by Hippolytus and one of the Erinnyes, an infernal spirit well known to Italiot painters, encircles a bull whose importance is emphasied by the polychromy. On the other side, a satyre and a bacchante, both of them companions of Dionysios, the God of the Theater, attest that the works of Attic dramatic poets of the 5th century b.c flourished in Greece : Aischylos, Sophokles and especially Euripides influenced Italiot painters. We suggest that this vase was produced close to an important Apulian workshop in the second half of the 4th century b.c., eventually in the circle of the Darius or the Underworld Painters.
Ambroise Dubois et les Éthiopiques d’Héliodore
Authors: Sarant Mylène
Published: June 2021

Ambroise Dubois and the Ethiopics of Heliodorus.

At the beginning of the 17th century, Ambroise Dubois was the first artist who was inspired by the Ethiopics of Heliodorus, a Greek novel translated by Jacques Amyot in 1547 which became very well known from the 16th century on. The new iconography of the cycle, that the painter created for the Château de Fontainebleau, illustrated his closeness to the Antique text. On the contrary, a study of the decorative cycles painted in the 1630’s by Simon Vouet and Charles Poërson, in France, and by Karel van Mander the Third in Denmark, reveals that the rendering of the novel has been subjectively simplified.
Un jardin baroque à Florence : le « nouveau jardin » de la villa de Lappeggi
Authors: Meudec Juliette
Published: June 2021

A baroque garden in Florence : the “New Garden” in the Villa of Lappeggi.

Among the gardens created in the 17th century in Florence, the garden of the Lappeggi Villa is an outstanding example of the baroque style. And, although few studies have been carried out on gardens in Florence during that period, documents from the Medici archives have enabled us to reconstruct this work with a certain accuracy, the different steps of its construction, the elements it implied and, what’s more, to identify the artists responsible for its construction - thus, underscoring the extreme importance of the workshop. The garden was commissioned by Cardinal Franco Maria de Medici, the brother of Cosmo the Third, and the work is recorded as being carried out between 1697 and 1711. Antonio Ferri was the landscape architect who designed the garden and supervised the work. Two major artists were responsible for the decoration of the garden : Anton Francesco Andreozzi directed a team of sculptors among whom were Giovan Antonio Fortini, Giovan Camillo Cateni and Girolamo Ticciati, and Giovan Battista Ciceri created the stuccos.
François Lenormant (1837-1883) et la découverte des terres cuites de Tarente
Authors: Morin Christelle
Published: June 2021

François Lenormant and the discovery of the Taranto terracottas

In 1879, F. Lenormant, an hellenistic and orientalist scholar, started researches in Magna Graecia. In Taranto, he carried out private excavations, without any archeological concern, in a place where votive terracottas were stored, which, for 90% of them, represented banqueting people. He then made an esthetic choice, keeping only 700 pieces offered to the Louvre. Then he warned the Italian authorities in charge of official excavations, impeded in their work by people who destroyed sites by scattering archeological finds abroad. At that time when archeology was in complete change, F. Lenormant appears as an innovating scientist for people revering amateurs and collectors ; but for those who attempted to raise this discipline to the rank of a science, he was merely an opportunist, lacking in the accuracy necessary to real scientific work.
Henri Focillon et le Japon
Authors: Fujihara Sadao
Published: June 2021

Henri Focillon and Japan.

Between 1914 and 1924, Henri Focillon, then a professor of modem art history at the University of Lyon, studies Japonese art. The time when he was interested in this art is a turning point in the French historiography of Far East Art, after Japonism. The characteristics of his works are two-fold : on the one hand, theoritically speaking, Focillon applied formal analysis to japonese prints, in order to distinguish himself from the numerous amateurs in this art.

On the other hand, historically and ideologically speaking, he established a new conception of the history of Far East art, owing to the development of political relationships between Asia and Europe. The results obtained by later orientalists compel us to consider Focillon’s works as subjective but, by investing time so early in Japonese studies, he contributed to the historiography of Far East art, even before the creation of this subject.
Les commissions coloniales rattachées au Comité des travaux historiques et scientifiques
Authors: Leroy Rodolphe
Published: June 2021

The colonial Commissions connected to the Comité des travaux historiques et scientifiques.

In the late nineteenth century, the Comité des travaux historiques et scientifiques became a bigger and bigger research organization, always closely linked to the successive political governments. With each new French conquest, a commission of parisian scientists and local correspondents was created and attached to it, as in 1864, the scientific commission for Mexico, in 1884, the commission for Tunisia, in 1908, the archeological commission for Indochina. The example studied here is that of the commssion for Tunisia, which coordonated researches in archeology and epigraphy in North Africa, thanks to the support of the Army. The action of this scientific institution in a colonial background enables us to bring to light the power at stake in historical monuments. For instance, the protection and valorisation of the archeological site of Carthago is the object of a conflict between the administration and the civil sociéty of which a non professional archeologist Louis Carton is the main actor. The commission for Tunisia has to be the arbitrator in this quarrell ; generally speaking, it is the forerunner of the archeological services which will be instituted in 1942 under the care of Jérome Carcopino.
L’Académie des beaux-arts de Saint-Pétersbourg et les sections artistiques russes aux expositions universelles de 1862 à 1900
Authors: Mojenok-Lloveras Tatiana
Published: June 2021

The Academy of Fine Arts in Saint-Petersburg and the organization of the Russian artistic sections at the World Exhibitions between 1862 and 1900.

The Academy of Fine Arts in Saint-Petersburg was called upon to choose the works selected for the artistic sections of the World Exhibitions of 1862, 1867, 1878 and 1900, a choice whose aim was to show the existence of a Russian school. Though there was no response in London in 1862, French criticism in 1867 noticed such painters as, for example, Vassili Perov. The creation of a Society for travelling art exhibitions (called « les Ambulants » in French), and the action of collector Paul Tretiakov strengthened the realistic characteristics of Russian painting by imposing these paintings, welcomed by French critics en 1878. However, this selection of realistic works did not prevent the emergence of more moderate personalities like Serov or Korovine and the landscape painter Levitan, who paved the path for Diaghilev’s « Russian Ballets ».
La « chapelle de France » à Lavelanet : un décor sous le régime de Vichy
Authors: Ducourau Bertrand
Published: June 2021

The « chapelle de France » at Lavelanet : a set of paintings under the Vichy government

The church of Lavelanet, in the Ariège department, keeps two huge paintings executed in 1942-1943 by Reynold Arnould (1919-1980), constituting the « chapelle de France ». One of them shows the Virgin Mary with French women saints and the other, the homage paid to a dead soldier by the heroes of French History, among them the Maréchal Pétain. The unusualness of this perfectly preserved set of paintings led to their classification among the Monuments historiques in 1998.
Alexandre-Évariste Fragonard, dessinateur de costumes pour l’Opéra de Paris
Authors: Duffeix Rebecca
Published: June 2021

Alexandre-Evariste Fragonard (1780-1850) was appointed as a dress designer for the Paris Opera on March 25th 1824. He contributed for operas and produced a lot of models, in an orientalising style, for two fantastic operas, fairy tales mixing heroism to the marvellous, Les deux Salems and Zemir et Azor, and in a «troubadour »mood for two lyrical works,

Richard et Zoraïde and La dame du lac. This decorative vein was related to a recent trend in the paintings of the artist. His experience as a designer, his taste for the theatre and, above all, his knowledge of historical dress probably explain the reasons for his being appointed. However, Fragonard only assumed this position for a few months, for deep financial dissensions opposed him to the administration. The decision to replace him occurred in November 1824 and was applied as early as the following January.
Histoire du costume : quelques observations méthodologiques
Authors: Blanc Odile
Published: June 2021

Fifty years after the criticism of Barthes reproaching historians with giving only dress inventories, it is not useless to question anew the methods of the history of dress. The renewal of human sciences in the sixties, from linguistics to semiology, not forgetting anthropology and psychoanalysis, opened the way to new studies devoted to contemporary dress phenomena and, in particular, fashion phenomena. But the study of old costumes, faithful to its initial project of reconstitution, has hardly investigated the act of dressing itself, so that a real anthropology of the dressed body is absent for these periods.
La physiognomonie zoologique et les arts figuratifs
Authors: Baridon Laurent , Guédron Martial
Published: June 2021

Zoological Physiognomy and figurative Arts.

Since Antiquity, the theory according to which animals lend their moral personality to human beings and vice versa, is founded upon the analogies between their respective physical specificities. This idea had many consequences on visual arts. No wonder the first application of this theory went with the emergence of individualism at the time of the Renaissance. Due to the visual illustration in the sixteenth century of ancient treatises and their actualisation in the rhetoric of passions, a real physiognomic craze ensued. Thanks to easier works, numerous artists, illustrators and caricaturists used physiognomy all the more convincingly as the inductions of scholars proceeded with visual similarities. Romanticism, by resorting to analogy, rooted this “ animalomania ” in the minds to the point that our social imagery is still permeated with it.
Les musées de sciences naturelles : entre science et art
Authors: Maigret Jacques
Published: June 2021

Museums of Natural Sciences : Science or Art ? Museums of Natural Sciences found their origins in the old Wunderkammern. From its creation in 1635 as a royal collection, the National Museum in Paris was a centre of close relationship between sciences and artists, those at least who found their sources of inspiration in Nature. On the other hand, scientists needed artists to draw Nature and keep traces of what they were studying. If, to-day, we chiefly give these images an artistic and historical value, at the time, they were considered as truly scientific references. From 1960, a gap widened between the scientist and the artist who no longer needed museums to approach Nature. Artistic concepts have changed and, to-day, artists are asked to interpret their own visions. From that time, sciences and culture went their separate ways. We are at the heart of the debate between the museology of objects and the museology of ideas which is going to affect the museal community for many years. The message supported must be “ civic ” and take into account the social necessities so that the result of research may help to understand the stakes of development. The renovation of the Great Gallery in the Paris Museum worked as a catalyser of these ideas. By placing the visitor in a position of leisure, we may hope to make him realize what is at stake in sciences
Emblématique et mythologie médiévale, le cygne enchaîné, une devise princière
Authors: Hablot Laurent
Published: June 2021

Emblemas and medieval myths : the Swan, a princely badge.

At the end of the Middle Ages, a new form of emblem was developed by princes and great European lords, along with heraldry. The swan, little used in heraldry, took an outstanding place among these new emblems or “ badges It is everywhere in decorative arts, in particular in England, but also in France and in the Empire. The reasons of this success are manifold. Tainted with a negative or, at least, ambivalent meaning in books of beasts, the swan is, paradoxically, valued by courtly culture, linking it to the mythical Swan Knight. Numerous European lineages, starting with the Boulogne House, claimed a kinship with this legendary knight. Among the families really linked to the Boulognes, the Lancaster branch of the Plantagenets is the house which most used the swan in its heraldrv, under many forms and with a great variety of meanings. Among all the animals of the bestiary, the swan is no doubt the one who best illustrates the great unity of the medieval world, which transposes its cultural references on the emblematic and decorative level.
La collection de Michel Bégon : l’apport du peintre d’histoire naturelle Claude Aubriet
Authors: Hamonou-Mahieu Aline
Published: June 2021

Michel Bégon’s collection and Claude Aubriet’s contribution to natural history.

Michel Bégon (1638-1710), a navy paymaster of Louis XIV in La Rochelle, was at the start of a collection composed of medals, books, objets d’art, works by famous painters and curiosities of Nature. To illustrate his collections of insects and birds, he employed the miniature painter Claude Aubriet (c. 1665-1742), in charge, on the other hand, of the king’s vellums. A careful study of the entomological and ornithological plates by Aubriet shows that he greatlv borrowed from former artists such as Maria Sibylla Merian or Johann Walter. This article is concerned with the problem of the role of the artist, as regards his relationship with the scientist or the collector of curiosa.
Les organes génitaux des animaux. Un dialogue mental
Authors: Belzère Stéphane
Published: June 2021

The genitalia of animals : a mental dialogue.

The painter Stéphane Belzère explains, tinder the form of a dialogue with himself, why he has chosen, for several years, to paint jars containing the genital organs of animals kept in the Museum of Natural History in Paris. He is attracted by the strangeness of the exhibition of organs kept in formol, the refinement of their colours and the softness of the flesh, in which he perceives a real beauty whose ambiguity calls up death. His approach reminds us of the fascination with Wunderkammern, and, at the present time, of the interest shown by artists in all that is organic, meat, dead or alive. Belzère has also painted bottled food, which exerts on him the same attraction, i.e. repulsion and absolute fascination.
De la plate-bande à la poutre Hennebique
Authors: Germann Georg
Published: June 2021

From the entablature to the Hennebique system.

The association of masonry and metal has a long story. From the bolts and cramps in Greek temples to the colonnades from the sixteenth to the eighteenth century, iron reinforcement never stopped appealing to builders in spite of the damage caused by rust as soon as iron was substituted to bronze. Many innovating buildings can be found in France. However, in the eighteenth century, the building of the reinforced portico of the cathedral of Geneva by Benedetto Alfieri came before that of the French Sainte-Genevieve church, as well as the fire proof clamping of vaults and ceilings of the Mint in Bern by Jacques-Denis Antoine are prior to the reinforced concrete floors of the nineteenth and twentieth centuries. Could François Hennebique, inventing a monolithic reinforced concrete beam, have been inspired by the prints of the Enlightenment Century showing entablature tie-bolts and metallic braces ?
When David Became David: David’s Debt to Voltaire and the Philosophes
Authors: Apgar Garry
Published: June 2021

Quand David devint David : la dette de David envers Voltaire et les philosophes.

C’est au cours des années 1780 que l’on peut dire que le père du néoclassicisme en France, le peintre David, est devenu David. Pendant cette période, il s’est créé un style propre, en s’inspirant de l’art gréco-romain et en puisant chez des maîtres anciens, tels que Raphaël, Poussin, Le Caravage et des contemporains, Greuze, Gravelot, Peyron et Vincent. Les chefs-d'œuvre davidiens de cette époque, Bélisaire demandant l'aumône, Le Serment des Horaces, La Mort de Socrate et Brutus et les licteurs, ont été tous inspirés de 1’exemplum antique vu à travers les idées et les idéaux des philosophes modernes dont, notamment, Diderot et, avant tout — chose un peu surprenante — , Voltaire. Directement ou indirectement, Voltaire et les artistes illustrant ses pièces de théâtre ont joué un rôle capital dans l’épanouissement artistique de David.
À propos de lesbianisme clandestin en plein Paris : la décadence et Le Rond-point des Champs-Elysées de Louis Anquetin
Authors: Thomson Richard
Published: June 2021

Louis Anquetin’s Rond-point des Champs-Elysées : about lesbianism in Paris at the end of the nineteenth century.

Anquetin’s large pastel, Le Rond-point des Champs-Elysées (1889, Saint-Germain en Laye, musée départemental du Prieuré), is a highly stylised form, which in its strong outlines, repetitive forms and exaggerated linearity bears comparison with Seurat’s Chahut. But what does it represent ? The evidence of a contemporary text, Léo Taxil’s La corruption fin-de-siècle (1891) strongly suggests that Anquetin’s pastel alludes to the fact that lesbians used this stretch of the Champs-Elysées as a rendezvous between women on foot and in carriages. Several other works of this period represent the same practice. This group shows Anquetin’s close engagement with decadent Paris and his development of a stylised art to account discreedy with his clandestine subject.
Raphaël Collin et le Japon
Authors: Miura Atsushi
Published: June 2021

Raphaël Collin and Japan.

Collin enjoys in Japan a reputation higher than the one he knows in France, in spite of the recent recognition of French academic painting of the late nineteenth century. This article highlights the relationship between the painter and Japan, first through his important collection of paintings and, above all, his far-east potteries ; then, this collection is related with the esthetics of Collin’s paintings, very easy to detect in his figures of young girls. Furthermore, the article analyses the phenomenon of the “return to japonism ”, thanks to the numerous young Japanese who came to Paris to follow the teachings of the Master and brought back the bases of the modern Japanese School of painting.
Henri Focillon et son expérience roumaine
Authors: Vlasiu Ioana
Published: June 2021

Henri Focillon and his Romanian experience.

The relationship between Henri Focillon and Romania, very close in between the two world wars is here recalled in the diversity of its aspect. Henri Focillon contributed to making Romanian art known abroad thanks to his writings and his direct participation and organization of the Ancient and Modern Romanian Art Exhibition in the Jeu de Paume in Paris in 1925. Besides, a few Romanian artists were exhibited in the room dedicated to foreign schools at the Fine Arts Museum of Lyon whose director Focillon was. Convinced as he was one must act on one’s time, Focillon. developed a strategy on several levels, one of which was the construction of cultural institutions as, for example, the French Institute in Bucarest, founded in 1924. All this rich activity was developed against a background of friendship between Focillon and the art historian Georges. Oprescu as well as other Romanian intellectuals of the time. The important exchange of letters between Focillon and Oprescu has been used here to underline his deep attachment to Romanian cultural values and friends.
Les voyages d’artistes français en Italie au XVIIIe siècle : bilan des études récentes et perspectives de recherche
Authors: Bertrand Gilles
Published: June 2021

Travels of French artists in Italy in the 18th century : survey of recent studies and research perspectives.

Several problems emerge concerning the treatment that historical research devoted to the travels of French artists in Italy at the Enlightenment period : scattered written sources which, together with sketches and drawings, enable us to grasp their travelling experience ; the gap between the notions of travelling and sojourning ; and, finally, incomplete studies on that theme. Some strong points can, however, be sifted out, starting with the will to reconstruct the every day life of artists, to the analysis of artistic productions made during their Italian stay, without forgetting the “ back fire kick ”, once in France. It is clear that these travels of highly professional dimensions lead to totally different studies from those concerning the Grand Tour of the eighteenth century upper classes.
Représenter l’altérité politique. Titres et attributs des souverains musulmans dans les textes et les images de croisade
Authors: Caroff Fanny
Published: June 2021

Titles and attributes of Muslim sovereigns in crusade writings and pictures.

The writings and images on crusades abound with testimonies of how the Muslim world was perceived by the medieval West. The political differences of the crusaders’ennemies have thus been approached in various ways : on the one hand, historians who described Muslim protagonists within their institutions and, on the other hand, illuminators who had to illustrate some episodes of the crusade, mainly in secular workshops of the North of France and of Flanders between the thirteenth and fifteenth centuries. The analysis of written and figurative representations of Muslim sovereignty reveals the ambivalence of their approach, as regards a foreign institution. Indeed, the titles the writers resorted to, the attributes of Muslim dignitaries and some aspects of the court ceremonial reveal a variegated appraisal of their sovereignty ; now stigmatised, now assimilated with Western culture ; and thus devoid of any original dimension.
Les sculptures amérindiennes en Normandie dans la première moitié du XVIe siècle
Authors: Coutard Nicolas
Published: June 2021

Amerindian sculptures in Normandy in the first half of the sixteenth century.

From the very first years of the discovery of the New World, the Normans carried out many expeditions there. They negotiated with the Indians of the future Brazil for the “ trafiq ” of red wood. The Norman sailors sometimes brought back natives, as was the case at the time of Henri II’s famous festival in Rouen, on October 1, 1550. Centuries afterwards, traces of this relationship still exist between the two countries. This phenomenon had an impact on the local sculpture. However, caution is the word as regards some hasty interpretations. Many proofs, whether historical or local, have to be collected to certify this influence.
Des études photographiques en histoire de l’art
Authors: Poivert Michel
Published: June 2021

M. Poivert : About Photographie Studies in the History of Art.

The part played today by photographic studies in the history of art can be measured when we note that the contradiction -work of art or document ?-in the status of the snapshot as regards our discipline has been outgrown. By emphasizing the first one and disparaging the second, only one aspect of the production of images from its origin was taken into account. An aesthetical approach as well as a real policy of the authors may have for too long reduced the photographic corpus simply to “photographic works”. Today, a more dialectical definition of the relationship between art and document, at the heart of the modern status of photography, as well as a conception of the “photographical matter”, as a phenomenon close to artistic practices, allow a global vision which has helped renew the historical approach of visual culture.
Les Salons en noir et blanc (1876-1892)
Authors: Meneux Catherine
Published: June 2021

Catherine Méneux : “Salons” in Black and White (1885-1892)

The first exhibition in Black and White took place in France in 1876. Conceived on the model of the exhibitions in Black and White of London, it collected prints and drawings. This kind of Salon, as well as those to follow between 1881 and 1892, aimed at giving value to graphic arts for which black and white played a uniting and defining role. At the same time, the fashion of watercolour and pastel helped make the public more familiar with colour. Besides, the development of illustration and of posters, together with the taste for Japanese prints, guided the image towards polychromy. In the 1880’s, there was a gap between the taste of the public and the engravers’ still attached to black and white. This conflict between drawing and colour will be solved at the beginning of the 1890’s, when artists redefined the notion of original print and when a new generation of painters elaborated an art free from any stylistic “a priori”.
Publier l’art et la photographie. Les éditions Braun et Cie au XXe siècle
Authors: Boyer Laure
Published: June 2021

Laure Boyer : Publishing Art and Photography : Braun and Co. Publishers in the 20"' Century.

Studying art edition enables us to reassess the means of artistic diffusion and the historiography of art history. The business of the Braun firm in the 20th Century offers a field of study so far unexplored. Directed by the critics and art lovers, Georges Besson and Pierre Betz from 1930 to 1960, Braun and Co was organized round three different branches : the collection of books on art, as for example, Les Maîtres anciens, announced as a revolution in the art book, artistic reviews, among them the outstanding Le Point and an art gallery.

The omnipresence of photography at Braun and Co, used as a means of reproduction or presented as a work of art in itself, leads the way to a reconsideration about the historiography of photography and the role of picture in art publications.
« Elle a la concision terrible du blanc et du noir ». Henri Focillon, l’eau-forte et les artistes visionnaires
Authors: Schandel Pascal
Published: June 2021

Pascal Schandel : Henri Focillon, etching and the visionary artists.

In the profuse and complex work of Henri Focillon, the life of forms is not the only support of his conceptual effort. “Spiritual families” beyond the usual time frames and stylistic definitions are constantly in his mind. The family of visionary artists (Hugo, Goya, Meryon, Piranese, Rembrandt ...) particularly appealed to him. His reflexion leans on a rhetoric opposing shade and light, black and white, whose origin is to be found in 19th French poets and writers. Focillon was a scrupulous reader of Gautier and Baudelaire and he approved their assessment of Balzac. This one, compared to an etcher, is called a visionary by his contemporaries : Focillon transposes reality so as to offer a more accute vision of it, just as Meryon’s prints. Focillon borrows this idea from literary critics, translates it into the aesthetic field and explores its possibilities.
L’artiste et ses publics
Authors: Michel Christian
Published: June 2021

The artist and his publics.

The aim of this article is to grasp the role the recipients of a painting have in its making. Wondering about direct recipients –people who order a work of art-, indirect ones– who buy a painting displayed in a shop or a Salon- and the non buying ones –the public and the critics of exhibitions–, it attemps to show how the artist is brought to vary his strategies in order to please and to sell. It insists on the material aspect of a painting, an artefact meant for financial transactions, which makes the situation of the painter quite different from that of the writer in his relationship with the recipients.
La « bande à Schnegg » : examen d’un groupe de sculpteurs indépendants
Authors: Placin-Geay Amandine
Published: June 2021

The “bande à Schnegg” : scrutinizing a group of independent sculptors.

The phrase “la bande à Schnegg”, invented by critic Louis Vauxcelles en 1913, must be explained. At first, it was a group of independent sculptors assembling around Victor Schnegg, Rodin’s collaborator, who died in 1909. Without ever constituting a stable and exclusive society, these sculptors (essentially Gaston Schnegg,Jane Poupelet, Robert Wlérick, then Alfred Halou, François Pompon and Charles Despiau) shared a taste for fine work, mainly stone-carving, and sought simple forms drawn from nature. Their influence will span between the two World Wars and their works will often be linked to official architecture.
Henri-Pierre Roché et Joë Bousquet, collectionneurs
Authors: Bonduelle Reliquet Scarlett
Published: June 2021

Henri-Pierre Roché and Joë Bousquet, collectors.

This article analyses the relationship of two twentienth century writers with their own collections, relationships both similar and different. No ostentation from one or the other in the act of collecting, but a very personal relationship which brings them to live with, and even thanks to the works of art and to exchange with the artists. Henri-Pierre Roché (1879-1959) considers collecting as a means of filling a sentimental gap and being close to such artists as Marcel Duchamp, having met him in New York, with whom he attempted to identify. Joë Bousquet, whose confined life we know about, experiences a sensual approach of his collection and, through it, searches for a means to understand creation and life.
Quatre lettres tirées de la correspondance inédite entre Enrico Baj et Édouard Jaguer
Authors: Sanna Angela
Published: June 2021

Four letters from the unpublished correspondance between Enrico Baj and Edouard Jaguer.

The four letters concerned are drawn from the unpublished correspondance the Italian artist Enrico Baj (1924-2003), initiator in 1951 of movimento arte nucleare, exchanged with French critic and poet Edouard Jaguer (1924), leader of the Phases movement since 1954. These documents dated 1960, a period during which the two personalities got closer to the surrealist movement, inform us about the discussions that arose between Baj and Jaguer about the Anti-procès, a series of events against surrealism, with which, Baj’s name had been connected. The letters also concern the manifesto Tir de Barrage published by Phases and the surrealist movement against the Anti-procès, as well as the preparation of the 1960 surrealist exhibition in New York in which Baj and Jaguer took part.
Les innovations scéniques de Mariano Fortuny à l’hôtel de Béhague : une scène idéale ?
Authors: Desvaux Delphine , Stasi Laure
Published: June 2021

Mariano Fortuny’s scenic innovations : an “ideal” modern stage at the Hôtel de Béhague ?

Mariano Fortuny (1871-1949), in Paris since 1901, went about trying to draw attention to the scenery machines he had invented and, in particular, a conch, called “dome” intended to reform Wagnerian Mise-en-scene. Artistic circles were interested but he only found the opportunity of convincing when he met Martine de Béhague, comtesse de Béarn (1870-1939) and built at the Hôtel de Behague the first full size dome, whose evolution is understable thanks to the study of patterns and unpublished archives. This single testimony of his research, still in situ, rediscovered in 1998, will soon be renovated. This first venture in the theater world was, no doubt, the most important move in his career since his having put his ideas to the test, then his meeting with such personalities as Adolph Appia and the freedom the Countess allowed him, spurred him to realize what had only so far been on paper : an “ideal” modern stage, which was imitated in Germany. The experience opened new possibilities in w'hich he was to succeed later : textile (the stage curtain) and fashion.
Une méprise stylistique : l’architecture néoclassique du dix-huitième siècle
Authors: Rabreau Daniel
Published: June 2021

A stylistic misunderstanding : the 18th Century neoclassical Architecture.

The author, praising a recently published book about the Nantes theater built by Mathurin Crucy in 1784-1787, wishes there had been more French publications about 18th century architecture in the past fifteen years or so. The excellent scientific presentation of the too little recognised architect’s masterpiece is an invitation to reassess the adequancy of the stylistic approach of art, as set down in the 19th century. The concept of neoclacissism, which seemed to be the rule in the many works published between 1970 and 1980 (the 1972 London exhibition or the book by, Allan Braham, 1980), was mainly based on the narrow notion of imitating Antiquity, while it largely ignored the notion of emulation, resorting to an imagination aroused by the new moral, psychological and political demands of an alla'antica French architecture in the years 1760 to 1780. Publications about Piranèse et les Français (1976-1978) opened the wray and A. Braham had an intuition of this but, since 1989, too many unpublished academic studies should have convinced publishers to serve research and the public much better.
Une méthode de restitution architecturale : l’étude du château d’Assier
Authors: Prunet-Tricaud Marie-Rose
Published: June 2021

A method of architectural restitution : the study of the Château of Assier.

It has been possible to bring back to life the “ magnifique château d’Assier ” by confronting three drawings and a photograph with remains, some on the spot and other squattered, and documents drawn up by public notaries or historical evidence. The archeological process has enabled to carry out rehabilitations, which bring together separate fragments and restitutions, suggested by the contradiction between the sources, especially when confronted with the remains. This exercice in restitution does not only bring a “ missing link in the history of shapes ” but it also brings back to life the chronology of the plans and the stylistic evolution of the building. Beside the progress of the research (from partial certainties to rebuilt wholes), the difficulties of this border-line case analysis of a building is even exemplary of any analysis of a work of art, since in order to see, one must first understand.
La porte en bronze du Castelnuovo de Naples : naissance de la chronique monumentale
Authors: Barreto Joana
Published: June 2021

The bronze door in Naples’s Castelnuovo : the birth of a monumental chronicle.

The bronze door in Naples’s Castelnuovo is both the only bronze door with a lay purpose and the first monumental chronicle of the Italian renaissance. The king of Naples, Ferdinand the first, had the succession war against Jean d’Anjou represented on its six panels. The structural analysis of this early narrative work enables us to catch the emergence of a new iconography, the chronicle of a living prince, represented on a big scale. Although it is in keeping with the works of Filarete, Ghiberti, Mantegna or the Tavola Strozzi, the formal composition innovates as regards the unusual arrangement of the scenes, the friezes and the medalions, as well as the glorification of the Prince thanks to Ancient History and to an exact topography.
Les bienfaits des rois hellénistiques à l’égard des cités grecques en matière artistique au IIIe siècle avant J.-C
Authors: Lefebvre Ludovic
Published: June 2021

Philhellenism and evergetism : some aspects of the Hellenistic monarchies’ policy in the 3th century b.c.

The rise of new states after the slicing up of Alexander the Great’s Empire, between 323 and 281,
Florentia depicta. Décor de façade et courtisanerie au XVIe siècle
Authors: Fenech Kroke Antonella
Published: June 2021

Florentia depicta : Decorated façades displaying courtiers’ homage.

In the course of the 16th century, the art of painting with sgraffito the façades of the palaces had a special development in Florence. Between 1515 and 1620, a real connection between the practice of a non-architectural decor and the propaganda of the aristocratic power of the Medici became usual. The relationship between the Prince and the courtiers established the backbone of such an artitistic phenomenon, its iconographical program and its functions. Through some selected examples which illustrate the way in which this artistic practice defines a courtier’s iconography meaning the “buon service”, this study analyses how “courtiership” in Florence also expresses itself in the art of decorating façades.
Peinture et diplomatie dans l’entre-deux-guerres, l’exemple de l’échec du projet d’exposition Max Liebermann au musée du Jeu de paume en 1927
Authors: Arnoux Mathilde
Published: June 2021

The failure of the plan to exhibit Liebermann’s paintings at the musée du Jeu de paume in 1927.

In 1927, Karl Scheffler, the head of the review Kunst und Künstler suggested to Louis Réau, chief editor of the Gazette des Beaux-arts, that, after Berlin, Paris should host an exhibition of Max Liebermann’s works, in honor of his eighty years of age. The French political leaders, who had been stirving to reestablish a pacified relationship with Germany since the signature of the Treaty of Locarno in 1925, encouraged the organization of the exhibition which they saw as the symbol of a cultural reconciliation. However, Max Liebermann’s participation to the Manifesto of the 93 in 1914 was brought back to attention, giving rise to nationalist demonstrations which jeopardized the event. This article reconstructs the context of the project and analyses the complex reasons for its failure.
Le retour de l’URSS à la Biennale de Venise en 1956
Authors: Malbert Marylène
Published: June 2021

The USSR’s return to the Biennale of Venice in 1956.

In 1956, the Soviet pavilion at the Biennale of Venice opened its doors again for the first time since 1934 : after much dithering, the USSR decided at last to take part in a worldwide artistic event, which moreover took place in Western Europe. What was at stake politically with the Soviet presence seemed to be obvious in the context of the Cold War, while reasons for their joining the event certainly had to do with the political home context of the time. Yet, the artists who were selected did not meet expectations : Soviet realism was still topical and most critics were disappointed with what the Soviet artists had to offer, which was deemed to be out-dated. The presence of the USSR at the Biennale of Venice in 1956 clearly showed a determination to confront foreign art, but also revealed that artistic innovations had by-passed the nation.
La place Saint-Corentin à Quimper au XIXe siècle : l’achèvement de la cathédrale et la construction du musée municipal
Authors: Rannou Nolwenn
Published: June 2021

The place Saint-Corentin in Quimper in the 19h century : the completion of the cathedral and the building of the town museum.

Starting from the study of two building sites conducted in Quimper by the same architect, Joseph Bigot (1807-1894), this paper deals with the dual power — secular or religious — which has shaped the town from the Middle Ages : on one side, the steeples of Saint Corentin’s cathedral — with the politcal stakes and the symbolical meaning attached to them in a country where the church and the gentry still had a real influence — , on the other side, the town museum, an architecture depending on an administration whose political weight increased with electoral reforms in the course of the century. If the opposition between the two powers stopped only with the law of State and Church in 1905, the place Saint-Corentin still testifies that the 19th century was a period of transition in the history of the town.
La restauration du trophée d’Auguste à La Turbie
Authors: Gandini Bénédicte
Published: June 2021

The restoration of Angustus’s Trophy in La Turbie.

Augustus’s Trophy in La Turbie (Alpes-Maritimes) built in the first century B. C to commemorate the conquest of the Alps is a showcase for the study of the doctrines of restoration and for a better knowledge of the first institutions created for the preservation of monumental heritage. This monument, between the end of the 19th century and the first half of the 20th was the object of three great restoration campaigns which revealed different approaches from the presentation of the ruin to its partial rebuilding along with the landscaping of the surroundings and the museological development. The analysis of those restoration campaigns thanks to the archive materials enables us first to identify quite specifically the successive stages, then to follow the evolution of the meaning of the monument in the course of the 19th and 20th centuries and finally to scrutinize the organisation and the practices of the different institutions in charge of the restorations, which study leads to an ever existing debate about how to preserve monumental heritage.
À propos du retable de Fongrave en Agenais (1645-1659) : l’atelier méconnu de maître Simon
Authors: Maisonnave Jean-Philippe
Published: June 2021

About the altarpiece of Fongrave in Agenais (1645-1659) : the little known workshop of maître Simon.

The altarpiece of Fongrave Priory (Lot-et-Garonne) was for a long time considered to belong to the Spanish school of the beginning of the 17th century but, thanks to the discovery of unpublished documents in the archives of the order of Fontevrault, it can be dated between 1645 and 1659 and attributed to the workshop of carver Simon, a craftsman who had probably been trained in Toulouse and had settled in the neighbouring town of Sainte-Livrade. To this wokshop, probably active from the beginning of the 1640’s to the end of the 1670’s are attributed several pieces of religious furniture today lost but well documented, among which the altarpiece of the chapel Notre-Dame du Bout du Pont in Villeneuve-sur-Lot (1658-1660) and perhaps those of the convent Notre-Dame de la Rose and of the Benedictine priory of Sainte-Livrade.
Vingt ans de recherches sur la sculpture française des XVIe et XVIIe siècles
Authors: Boudon-Machuel Marion
Published: June 2021

Twenty years of research into French 16th and 17th century sculpture.

Few studies into French 16th and 17th century sculpture have been published since 1980. This may give the impression of a certain lack of interest on the subject on the part of the university searchers. But the most recent studies announce a new revival. The monographies on sculptors, even if only few of them have been published, are still an efficient tool, especially if they are enriched by a thematic approach (on the workshops, for instance), which allows a better knowledge of the artist at work. The analysis of works themselves helps to develop the traditional themes (sculpture and power, funerary sculpture). The renewal seems to come from crossed reflections associating, on the one hand, the sculpture and other arts (like architecture, gardens and painting) and, on the other one, join it to the wider search on transmission of models. These new trends demand an inventory of the works which is still incomplete.
Le décor sculpté figuré du chœur primitif de la cathédrale de Laon (vers 1155) : vestige d’une chapelle d’axe
Authors: Kasarska Iliana
Published: June 2021

The figurative sculptures of the original chancel of the Laon cathedral (c. 1155) : remains of an axis chapel.

The cathedral of Laon, provided at the end of the 12th century with a new square ended choir of ten bays, used to have, c. 1155, a choir of three straight bays, apse and deambulatory. The original straight bays are preserved and several capitals of the destroyed apse have been reused in the new choir. The old one was built in a single construction campaign and its well known architectural style differs from the rest of the cathedral. This paper intends to reesta¬ blish its figurative decoration, partly unpublished up to now. Composed of a key-stone with the image of Christ and bracket-consols with the images of the four beasts of Revelation, the decor represents a Maj estas Domini, a typical apse theme. To this group, is added a key-stone with an Agnus Dei, which must have been in the medium axe of the cathedral, above an altar. The alignment of the two key-stones closing four-part vaults allows to reconstruct the plan of an axis chapel. Besides, thanks to the homogeneity of these sculptures, we can define the style of an artist at work in other parts of the cathedral and in the neighbouring church of Nouvion-le-Vineux.
Le Brun et ses sculpteurs : les monuments funéraires
Authors: Mazel-Nguyen Claire
Published: June 2021

Charles Le Brun and his sculptors : the funerary monuments.

The study of funerary sculptures in Paris between 1670-1690, a period during which patrons asked Charles Le Brun to produce designs, enables us once more to set the problem of the separation between invention and execution and to analyse its conditions quite precisely. This in fact shortlived separation finds its origin in the wish of the patrons, belonging to newly promuted elites, to respect the adequation between the rank of the deceased and the shape of the monument. The oversight of Charles Le Brun essentially concerns invention, restrained however by the rigid formalism of the patrons. Nevertheless, the sculptors did not give up a theoretical conception of their art, founded on the knowledge of anatomy, proportions, humours and expressions. The group work entailed by the ambitious plans conceived by Le Brun led to a stronger artistic emulation and greatly enhanced the value of their sculptural works.
La sculpture photographiée : le regard de Véra Cardot et Pierre Joly sur l’œuvre sculpté d’Émile Gilioli
Authors: Noirot Julie
Published: June 2021

Photographing sculpture : the sculptures of Emilio Gilioli as seen by Véra Cardot and Pierre Joly.

Far from being simple archives, the snapshots of sculptures taken by two partners, Véra Cardot and Pierre Joly, offer a precious lighting as well as an unique contribution to the study of contemporary sculpture. Two works of art — and doubly so — the shots devoted to Gilioli’s works between the end of the 1950’s and the beginning of the 1960’s, reveal in an examplary fashion the special link which can grow between these two arts. Both true to life and inventive, these shots enable us not only to replace the sculptures in their creative back-ground by establishing a chronicle of the work being done, but also to reveal them thanks to criticism in action and to an aesthetic manifesto of the work of the sculptor.
Les monuments à l’aéronautique ou l’apparition de nouveaux codes iconographiques
Authors: Leverrier Émilie
Published: June 2021

Monuments to aeronautics or the appearance of new iconological codes.

About 250 civil and military monuments testify to the importance of aviation in France. At the beginning of the 20th century and mainly in between the two world wars, two periods deeply rooted in the commemoration process, aeronauts were the object of national celebrations leading to the building of monuments. Artists had to find new iconological codes for expressing the invention of aviation. Some created allegories, either by reusing myths like Ikarus’ or by following the artistic avant-gardes to express the energy of planes. Others centered their monuments on the pilot, either civil or military, a man erected to the rank of hero, such as Guynemer or Mermoz. Artists had to create codes making it easy to recognize the pilots : wings or devices like the badges used by the pilots belong to this new language.