bluuebunny/crossref_metadata_2025 huggingface dataset:
Archéologie, littérature, illustration : Salammbô vu par G.-A. Rochegrosse
Authors: Houssais Laurent
Published: June 2021

Laurent Houssais : Archeology, literature and illustration : Salammbô as seen by G. A. Rochegrosse.

The first high quality illustrated edition of Roman history by Flaubert appeared in 1900. The illustrations were signed by an historical painter, well known in the Salons, Georges-Antoine Rochegrosse. The discovery of unpublished manuscripts by Rochegrosse has allowed a comparison of the sources that were used, as well as the strong demands on archeological reconstitution, common to both the writer and the painter. In effect, this demand, frequently commented on by the critics, appears to have determined the value of the image. So that, notwithstanding a good deal of scholarly research, several examples show to what point Rochegrosse placed importance on the text rather than on the archeology or on the topography of the sites and how he was able to free himself from the Flaubertian suggestion. By the freedom of the choice of his sources, as well the idea of the relationship between image and text, Rochegrosse showed himself an attentive reader, conscious of the limits of an illustration that Flaubert himself had absolutely condemned.
Les diplomates italiens, observateurs et conseillers artistiques à la cour de François Ier
Authors: Smith Marc H.
Published: June 2021

Marc H. Smith : Italian Diplomats as Observers and Artistic Counselors at the Court of François I.

Cultural interaction between the courts of Europe must always be considered as part of a wider, essentially political context of princely competition for «magnificence » and « reputation » ; art was one of the many interests of Renaissance diplomats.

This article focuses on the ambassadors sent from Italian courts to the court of François I. It also explores some of the ways in which these diplomats contributed to artistic exchange, not simply furthering orders, but playing an active and critical role.

Their despatches show at least three important aspects of their work : as observers of pageants and festivals ; informers on current architectural projects, i. e. , mainly royal châteaux ; and advisors to both François I and their own princes for the exchange of works of art as courtly presents. The author’s article offers interesting insights into Italian opinion concerning the taste of the French court.
Effects d’affects : le Caravage dans les textes du XVIIe siècle
Authors: Couëtoux Sophie
Published: June 2021

Sophie Couëtoux : Caravaggio in 17th Century Texts : the effects of the affects.

Based on various types of 17th century texts written on Caravaggio, including biographies, poems and epistolary documents, we are given an insight into how his paintings were received. Beyond the question of style and form, the emotional relationship between the spectator and the paintings must, also, be taken into consideration. To reveal in a critical text the effect a painting had on its author’s emotions meant that he was able to emerge from the impasse in which he found himself when attempting to describe an art that appeared to him to be unconventional. This aspect, also, helps to understand the uneasiness, as well as, perhaps, the pleasure, of a theoretician and defender of Classicism, such as Bellori.
Le débat sur les styles dans l’architecture religieuse au XIXe siècle le cas de l’Allemagne
Authors: Nayrolles Jean
Published: June 2021

Jean Nayrolles : The Debate on Styles of Religious Architecture in the Nineteenth Century : the example of Germany.

The eclecticism that dominated European architecture from ca. 1830 until the beginning of the 20th century derived from a true aesthetic philosophy, arising from the necessity to maintain an association between the art of the present and that of the past, and not from a sudden expression of creative inspiration. Thanks to a strong philosophical tradition dating from Hegel that privileged historical retrospection, it was in Germany, more than in any other country, that debates concerning the style that new constructions should be given took place. And it was, predominantly, within the domain of religious architecture, where the importance of the past appeared to be a particularly determinant factor, that different points of view came into conflict. In 1828, the architect Heinrich Hiibsch asked the decisive question :

« What style shall we build in ? ». According to different authors, the responses to this question depended on the nature of the arguments that were put forth : technical ; historical ; religious ; etc.
Marcel Duchamp critique d’art. Les notices du catalogue de la Société anonyme
Authors: Laudicina Stéphanie
Published: June 2021

Stéphanie Laudicina : Marcel Duchamp, Art Critic.

In 1920, Marcel Duchamp founded, with Katherine Dreier and Man Ray, the Société Anonyme. The purpose of this society was to introduce European modern art into the United States. In 20 years, they brought together more than 600 works from some 170 artists, which were given to Yale University, New Haven, Connecticut, in 1941. Between 1943 and 1949, Duchamp wrote 33 notices in English which were published in 1950 in the catalogue of the collections, The Société Anonyme : Museum of Modern Art, 1920. In these notices, Duchamp’s critical judgment of 33 of the most important artists of this century is clearly revealed. Especially noteworthy is the historical importance that Duchamp places on cubism — Archipenko, Gleizes, Marcoussis, Lipchitz — as well as his negative judgment of the artistic current that, after 1912, created a uniformity of style. Duchamp also sees the cubist theories as useless after-the-fact reiterations of earlier works. His opinion of Picasso is ambiguous ; he praises Picasso’s success and talent, but writes derisively of the purely aesthetic dimension of Picasso’s ambition and the almost religious adoration he received from the public. These notices underscore the great reserve held by Duchamp with regard to modern art and an affirmation of the conceptual, rather than concrete, manual values of artistic creation.
Iconologie politique. Le soleil, le Christ et le roi très chrétien : une figure du pouvoir au XIVe siècle
Authors: Talmant Pierre
Published: June 2021

Political Iconology — The Sun, Christ and the highly Christian King : a powerful figure of the 14th century.

In Le Songe du vergier (1378), the caustic discussion between the cleric and the knight, in the presence of the highly Christian king, is a conflict of personality that opposes spiritual and temporal powers. By his natural authority, the king, « image of God », whose name Charles (Karolus), presumably, derives from « clere lumiere » (clara lux) empowers him to enlighten, to calm and to guarantee harmony. In the miniature on the page opposite the text, a symbolic reference to the number three is found — a number which signifies, according to Eusebius of Caesarea, stability and justice. The semiotics of the image are organized around the ternary rhythm.

The sacred number which evokes the Trinity and the lily set in the coat of arms constitute the codification of the representation, which is intimately linked to the structure of the image.
La Vierge du Remède et la dévotion au scapulaire
Authors: Liez Jean-Luc
Published: June 2021

The Remedial Virgin and Scapular Devotion.

Scapular devotion came into existence at the beginning of the 13th century and was embraced by several religious orders, such as the Servants of Mary, the Carmelites and the Trinitarians. The scapular, consisting of a piece of cloth that differed in color and in form, depending on the monastic order, was worn by both the Religious and by the Laity. It was, essentially, an object of devotion related to the Cult of the Virgin that could save the souls of those who wore it. It is probable that the scapular had a more concrete significance for the Trinitarians. In 17th century engravings, they are portrayed as Christian captives, wearing the scapular, being freed from Muslim prisons. Despite the antiquity of this type of devotion, the iconography of the scapular, linking it to the Virgin, was most likely fixed in the 16th century, since there are too few medieval documents to establish a concrete iconographical reference before this date.
Le portrait au XVIIe siècle : concept de beauté et principe de ressemblance
Authors: Riondet Philippe
Published: June 2021

The 17th century Portrait : the concept of beauty and the principle of resemblance.

Based on the reaction of the court to DeTroy’s portrait of the Dauphine, Marie Anne Christine Victoire de Bavière, and the theoretical writings of Félibien and DePiles, the author analyses the paradox between the idea of beauty and the necessity of maintaining resemblance in the courtly portrait. In order to reconcile truth with verisimilitude, based on examples of their respective heroes, van Dyke and Rubens, both Félibien and DePiles offer reflections on : 1) the choice of correct proportions of the individual traits ; 2) embellishments on nature that may be made ; 3) the expression of the temperament of the individual by his/her facial features and 4) the promptness of the execution. Thus, the painter may hope to render the illusion of noble presence and, by faithfully portraying the subject, a true impression of life.
Les couleurs « suggestives » de l’affiche. L’Équipe de Cardiff de Robert Delaunay et la querelle des « panneaux-réclame »
Authors: Rousseau Pascal
Published: June 2021

The «Suggestive » Colors of the Poster : Robert Delauny and the Dispute Concerning the « panneaux-réclame » (advertising posters).

Robert Delaunay presented the Equipe de Cardiff at the Salon des indépendents in 1913. A hymn to modern urbanism (the Eiffel Tower, the Ferris wheel, biplane, rugby...), this imposing « fresco » is distinguished by its brilliant colors. In the center of the composition, Delaunay places two large publicity posters which immediately attract the attention of the public. The « raison d’être » of these posters in the painting stems from a dispute that occurred several months earlier, when a vote was taken on the law of July 12, 1912, that imposed taxes on publicity posters. Robert Delaunay, captivated by promotional techniques, perceived the space of the entire Salon des indépendants as an immense billboard, where he used brilliant colors — original in concept — to distinguish himself from other avant-gardists. The research that he, then, undertook on « simultaneous contrast » is echoed in the new psycho-physiology of publicity that incorporates the scientific theories of color set forth by Chevreul and Rood.
Note sur la genèse et l’histoire de l’édition de Du spirituel dans l’art de V. Kandinsky
Authors: Podzemskaia Nadia
Published: June 2021

Observations on the Origins and the History of V. Kandinsky’s On Spiritual in Art.

V. Kandinsky’s Uber das Geistige in der Kunst dates from 1910 and coincides with the realization of his so-called first abstract watercolor. Based on references in later publications, it would appear to have, first, been published in German in 1912 by Piper in Miinich ; it served as the basic source for the interpretation of Kandinsky’s art until the 1980’s.

The discovery of a number of unedited versions of the text, in German and in Russian, as well as various editorial projects (mainly, in Russian) were prepared by the artist but never carried out ; an analysis of these texts renders their history as an extremely complex one. The theoretical treatise, that grew out of the reflections made by Kandinsky in 1904 on the « language of color », was reworked by the artist until 1920-21. The long genesis of this text allows us to reconsider Kandinsky’s pictorial and theoretical development until he began to teach with the Bauhaus. Until present, no edition of On Spiritual in Art has dealt with this text’s complex history.
Aspects de l’archéologie chinoise aujourd’hui
Authors: Elisseeff Danielle
Published: June 2021

Various Aspects of Contemporary Chinese Archeology.

Since the 11th century, for Chinese scholars, it has been « in good taste » to profess an interest in ancient remains, discovered during their life time, that might confirm the colonial texts on which the legitimacy of the State was based.

It is this tradition that, at the end of the 19th century, served to define the basis of modern Chinese archeology, which was strongly touched by outside influences that brought into play certain new questions, such as that of the origins of humanity. From the beginning of the Chinese Republics (1912), numerous Chinese intellectuals passionately embraced this new science which offered them the hope of being able to contribute to the definition of a national identity and, thus, to place China in a national, rather than regional context.

In 1949, the foundation of the Peoples’ Republic of China gave this movement new dimensions that the Second World War had suppressed. Today, as the Marxist elite have been removed from the foreground, the accent has been placed on the importance of the different regions of China,
Dix années d’études du japonisme en Europe, aux États-Unis et au Japon (1988-1997). Premier bilan
Authors: Mabuchi Akiko
Published: June 2021

Ten Years of Study of Japonism in Europe, the United Sates and Japan (1988-1997). First Report.

The exhibition, Japonisme, Paris-Tokyo in 1988 had an important effect on the exhibitions that followed and influenced publications and research in Europe, the United States and Japan. This article analyses the activities related to Japonism that took place during the following decade and criticizes several important projects. There is an evident tendency to enrich data and to extend research in countries other than France, which had long been considered the center of the movement, for instance, in Austria, England, the United States, the Netherlands — and even, Poland. This tendency has especially manifested itself in the number of exhibits that have taken place. The main interest of the authors of books and articles is the social framework of the movement and the influence it has had on the working class environment. Research on Japonism has expanded both in geographic and in interdisciplinary studies.
Une histoire de l’art japonais en 1883. L’œil de Louis Gonse
Authors: Gonse François
Published: June 2021

A History of Japanese Art, as seen through Louis Gonse’s Eye.

The late 19th century in France was marked by the introduction of several thousands of objects of Japanese origin. Numerous private collections came into being at this time ; numerous books and articles were published on this subject. But a decisive step was made in the knowledge of Japanese art, in 1883, when the historian and art critic,

Louis Gonse decided to publish (in collaboration with the Japanese) a first scientific work on the history of Japanese art : L’art japonais. This publication marked a clear rupture with earlier works — mainly, descriptions of travelers and ornamental grammar books — because it placed the accent on the « japonité » of the Japanese, and, also, because the author challenged the ethnocentric behavior and prejudice of his Western contemporaries, vis-à-vis, Japanese art.

Thanks to Louis Gonse, in the West, Japanese objects of art were granted a highly honorable status. L’art japonais, which may seem, today, wholly obsolete, is an extremely interesting publication that allows the reader to understand what, during the 1880’s, was the image that the West projected on Japanese art, as well as the Japanese of ancient Japan, such as the Japan of Meiji.
Les expositions de peinture japonaise contemporaine organisées par le Japon à Paris dans les années vingt
Authors: Hayashi-Hibino Yôko
Published: June 2021

Exhibits of Contemporary Japanese Painting in Paris, organized by Japan during the 20th century.

Japan organized in Paris, during the 1920’s, three exhibits consecrated to its « contemporary art ». These events responded, first, in a comparatist prospective, to the demands of France that was, at that time, very active in the presentation of foreign art. However, since it was the Japanese that selected the national art to be exhibited and since they were extremely aware of the importance of their presence in foreign countries (such as, France, the heart of Japonism), the works that were chosen did not always reflect Japanese art of the 1920’s. The accent was placed on the differences with Western art, that is, purely on Japanese tradition, rather than on the new tendencies of contemporary art in the archipelago.

This article presents and analyses the strategy of the Japanese and the echoes following the three exhibits in France : the exhibition of Japanese art at the Salon de la Société nationale des beaux-arts in 1922 ; the Japanese section at the Salon d’automne in 1923 ; the Exposition d’art japonais, école classique contemporaine, in 1929.
Le tympan du portail central de la cathédrale de Nantes
Authors: Guillouët Jean-Marie
Published: June 2021

The tympanum of the central portal of Nantes cathedral.

Owing to a reassessment of the available sources on the sculptured decor of the façade of Saint-Pierre et Saint-Paul cathedral in Nantes, it is possible to bring some precisions about the original state of the building. The tympanum of the central portal of this façade did not present, as is usually acknowledged, an original openwork design which was filled up in the 17th century when the organ loft was erected. The analysis of the still existing remnants, as well as the size and nature of the stones used in this portal leads one to think that its present state dates back to the actual construction.

Textual pieces of evidence allow the clarification of this hypothesis by re-establishing here a tympanal sculpture of the Last Judgment, sculpture which logically completes the layout of the arches. This new restoration leads one to reassess the position of this frontispiece in Nantes in the french monumental scenery of the second half of the 15th century : from that time on Tours will not be the principal and imperative model for the builders of Nantes.
L’achèvement du portail de l’église Sainte-Madeleine à Besançon
Authors: François Laurent
Published: June 2021

The completion of the portal of Sainte-Madeleine church in Besançon.

This study is devoted to the successive alterations of the plans for the completion of the main façade of Sainte-Madeleine church in Besançon (Doubs). The first ones, locally commissioned in 1823, were made by the architect Nicolas Nicole. They were close to the models from Lorraine, especially to Germain Boffrand’s plans. The Conseil général des bâtiments civils in Paris gave preference to the drawings of the architect Maximin Painchaux, showing a very pure decor for the facade — particularly the towers, devoid of domes known as à l’impériale. The main façade will nevertheless be completed with a local material, originally used : a blue and ochre coloured limestone.
Le « genre arabesque » : nature et diffusion des modèles dans le décor intérieur à Paris, 1760-1790
Authors: Lebeurre Alexia
Published: June 2021

The « arabesque genre » : nature and diffusion of the models in the Parisian interior decor, 1760-1790.

Among the main inspiration sources of the neo-classical arabesque decorations — Antiquity, Renaissance, and the ornemanists miscellanies — it is difficult to distinguish the models used by the parisian decorators. Most of the portfolios achieved by the artists during their tour in Italy were dispersed and the publications devoted to Antiquity and Renaissance show but a few decorative patterns.

Only some identified ornamental drawings and the collection of prints of Raphael’s loggias enable one to recognize some of the models for the executed decors. As regards the decorative compositions created by the contemporains — prints or decors — one can also notice that they were taken up again by other artists. However, evaluating the diffusion of these models is rather delicate, owing to the few informations concerning the publication dates of the prints and the ownership of the decorative patterns.
Réfection ou restitution ? La restauration des chapelles de la cathédrale de Cahors
Authors: Popescu Carmen
Published: June 2021

Repairing or restitution ? The restoration of the chapels in Cahors cathedral.

This study examines the vicissitudes of the restoration programs of the chevet in Cahors cathedral (Lot) between 1868 and 1874. A document connected with the biography of the architect André-Emile Lecomte du Nouÿ allows us to be more specific about Viollet-Le-Duc’s influence on the successive architects. Originally favourable to a mere maintenance in the state, owing to the non-homogeneous nature of the building, Viollet-Le-Duc would have eventually suggested an intervention respecting the romanesque aspect of the Holy Shroud chapel, which took place before 1874.
L’architecte Émile Bénard, un Français en Amérique
Authors: Chouard Stéphanie , Hamon Françoise
Published: June 2021

Emile Bénard, a french architect in America.

The case of Emile Bénard is a good illustration of a phenomenon appearing at the turn of the century in the architectural relation between France and America : the migration of the « Beaux-Arts » style from France towards the United States, then Mexico and ultimately Canada. Actually, after devising several projects in America (Berkeley, Mexico City), Bénard comes back to France in 1913 while his colleague Maxime Roisin, a young architect, stays in Mexico City before settling in 1919 in Canada where he continues his master’s influence.
Deux tableaux inédits de Claude Vignon
Authors: Palonka-Lavenant Anetta
Published: June 2021

Two unpublished paintings by Claude Vignon.

The author recently had the opportunity to discover two unsigned canvasses which, owing to their facture and subject, might be ascribed to Claude Vignon : an Adoration of the Magi in the parish church of Saint-Martin in Rouez (Sarthe), and a Saint Paul in the convent of the Visitation in La Flèche (at present a hospital). The first painting is very close to an Adoration of the Magi kept in the church of Fère en Tardenois (Aisne), signed and dated 1643. The identification of the Saint Paul is more difficult. Strongly influenced by Caravaggio’s style, its facture looks close to the saints painted by Vignon during his Roman period (before 1643).
À la découverte de Jean Bauret, éditeur de tissus d’artistes, de Kandinsky à Geneviève Asse
Authors: Bonzon Gaël
Published: June 2021

Discovering Jean Bauret, manufacturer of artists-designed fabrics, from Kandinsky to Geneviève Asse.

This study is devoted to Jean Bauret (1907-1990), connaisseur of contemporary art and textile manufacturer. Although the bringing together of artists of different contemporary art trends in order to design fabrics for interior decoration (furniture, curtains...) is greatly to his credit, he remains unrecognized. From 1943 to 1948, his firm produced fabrics patterned by Vassili Kandinsky, Henri Michaux, Serge Poliakoff, Geneviève Asse, Paule Vézelav, André Lanskoy — among others — , the designs of which were traced by his wife, Hélène Bauret. He ensured their promotion by organizing exhibitions in his own parisian flat. In the difficult post-war period, Jean Bauret’s industrial art fabrics achieved a great success with a french élite accustomed to fashion and living art. In spite of this success, Jean Bauret retired from business at the end of the fifties to indulge in his passion : writing.
Le nombre chez Picasso : une tentative d’appropriation du langage
Authors: Michaël Androula , Guastavino Marc
Published: June 2021

Picasso and the numbers : an attempt at language appropriation.

Although claiming incompetence as regards mathematics, Picasso shows in his writings a specific interest in using numbers. 1. He uses a number individually, as an example illustrating his reflection on the nature of linguistic sources, and especially on their translation from one language into another.

2. His liking for enumeration increases his interest in mathematical series, but the ones he carries out follow no logical rule. 3. His interest in numbers also extends to arithmetic calculus. Picasso sets down imaginary operations which sometimes lead him only to reproduce their logical strucure. The artist thus diverts the language of mathematics to use it for poetical purposes.
Pour une étude des écrits sur l’art d’André Lhote
Authors: Bouiller Jean-Roch
Published: June 2021

Notes for a study of André Lhote’s writings on art.

Studying André Lhote’s written works allows to set into perspective his personal evolution in the artistic field as well as the evolution of the artist’s writing status throughout the 20th century (a transition from a descriptive criticism to a more purely informative one and to more theoretical standpoints) . While starting on a multiplicity of literary genres, Lhote does not basically alter his position during his career although, with the passing years, art history takes an increasing part in his writings. André Lhote demands the right for the artist to write about painting, against the tendency towards specialization of the professional art-writers as much as against the advocates of pure painting. This claiming is to be connected with the fact that during his whole career, he practised painting, writing and teaching in parallel. One has a better understanding of this prejudice when one knows that, for him, writings are but a neutral medium allowing a clearer understanding of painting and a better assessment of the great masters’genius. The study of André Lhote’s writings also allows an interrogation about the publishing networks through which their circulation was secured, in the french context (where La Nouvelle Revue Française holds an outstanding position) as well as in the international one where preferential links with Germany, Belgium, Spain and Sweden are disclosed.
L.-N. van Blarenberghe et le Traité sur la cavalerie de Drummond de Melfort (1776)
Authors: Lemoine-Bouchard Nathalie
Published: June 2021

Drummond de Melfort’s Traité sur la Cavalerie (1776), illustrated by Louis-Nicolas van Blarenberghe.

Outstandingly innovative, the Traité sur la Cavalerie (Treatise on Cavalry) by count Louis Hector Drummond de Melfort, published in 1776 after a gestation of thirty years, crowns a briefly mentioned military career. This work is accompanied by a magnificent atlas of 32 etchings executed by 25 engravers — nowadays quite forgotten or even ignored by the dictionaries — after drawings by Louis-Nicolas van Blarenberghe. This illustration, of which a rare preliminary drawing has been uncovered, remains the most monumental one ever requested from this artist. The publication of the Traité, supported by important subscribers, had an undeniable repercussion upon his career, here related in broad outline. The Traité sur la Cavalerie, twice republished, is inscribed in the tradition of the great etchings books of the enlightened 18th century.
La sculpture religieuse gallo-romaine en Séquanie
Authors: Bourquenez Nathalie
Published: June 2021

The religious Gallo-Roman sculpture in Sequania.

After the conquest, the various Gallo-Roman peoples will give a plastic shape to their divinities, hitherto mainly worshipped through mental pictures. If, in Franche-Comté, the majority of gods belong to the Greco-Roman world, the most interesting from the religious iconography point of view, are those springing from the Gallo-Roman syncretism and the local traditions. The sculpture of Mandeure’s goddess, or of Avrigney’s bull attest the persistence of indigenous, typically regional worships. The recent discovery in Villard d’Heria’s great religious complex of the statue of Bellona’s worship — the only known representation in the Roman Empire — highlights this notion of a regional specificity. The presence of the Apollo-Sirena and Sucellus-Nantosuelta paredries, or of the sculptured elements of snake-tailed Jupiter’s pillars, shows the strong level of Sequania’s attachment to the Gallic north-eastern provinces.
À propos des bagues dites « pontificales »
Authors: Grusse Dagneaux Éric
Published: June 2021

On the so-called “Pontifical Rings”

A set of rings with the Pontifical insignia and coat of arms of the 15th century Popes (from Martin V to Innocent VIII) are kept in various public collections. These rings (“pontifical rings”) made of guilded bronze with inserts of rock crystale are of impressive size. The reason for their existence is not known and, though numerous hypothesis have been made since the 17th century, the majority are unfounded. A recent hypothesis, based on their components and their formal and decorative aspects, suggests that the pontifical rings might be the insignia of legation. Owing to the difficult religious context of the beginning of the 15th century’, these rings might well have served to accredit the legates and to give authority’ to the Pope to whom they belonged. The progressive disappearance of the legates, who were replaced by nuncios in the late Quattrocento could have been the reason they were no longer manufactured. Two inventories, the only sources from the 15th century mentioning these rings, support this assumption which takes in account another set of similar rings with the coat of arms of the Aragon kings of Naples.
Un exemple de l’architecture mongole : le Siregetü juu de Kökeqota
Authors: Charleux Isabelle
Published: June 2021

An example of Mongolian Architecture : the Siregetü juu from Kökeqota.

The Siregetiijuu (in Chinese Xilin zhao) is one of the first monasteries built at the time of the revival of Buddhism according to tibetan rite in Mongolia in the late 16th century. Founded in the city of Kökeqota (today called Hohhot), the capital of the “autonomous” area of Inland-Mongolia, China, it quickly grew and became exceptionally well-known thanks to the famous reincarnated descendants of the Siregetü qutuytu, who benefited from the patronage of Mongolian noblemen and, then, of the Mandchurian emperors. The study of its architecture, as well of its iconography, based on written sources, enables us to retrace its origins and the development of various Mongolian architectural styles. The Siregetü is a typical case proving that the Mongolian builders, who had no fixed architectural tradition, welcomed Chinese and Tibetan influences and integrated foreign techniques and designs to create an eclectic architecture which has become the major support to their new Buddhist identity.
Eugène Piot (1812-1890) publiciste et éditeur
Authors: Piot Charlotte
Published: June 2021

Eugène Piot (1812-1890), publicist as well as publisher.

Eugène Piot, mainly known as a collector, equally had an important career as a publisher. With the Cabinet de l’amateur et de l’antiquaire — published from 1842 to 1846, then from 1861 to 1863 —, he had the ambition of educating the amateur, as well as contributing to the history of art. However, both the lack of financial means and of intellectual accuracy prevented Piot from carrying out this innovating programe, even if this review had a leading place among the first periodicals devoted to arts. Various polemics kept him busy, no doubt to his disadvantage. Besides, he had too many publishing ventures on the go, which often remained in the state of schemes.

As early as 1851, he took part in the development of photographic illustration in books about architecture and sculpture, mainly for Antiquity. The desire of making a profit out of his publications and of drawing the esteem of erudites thwarted Piot’s editorial ambitions which, nevertheless, revealed how close the scholar was to the amateur.
Louis Hautecœur, directeur général des Beaux-Arts (1940-1944)
Authors: Brucculeri Antonio
Published: June 2021

Louis Hautecœur, Directeur des Beaux-Arts (1 940-1944)

This article highlights the main features of the activity as a « Directeur des Beaux-Arts » of the art historian Louis Hautecœur under the Vichy government. The cultural project which motivated Hautecœur from the 1920s. concerning various fields : the teaching of art and architecture history, museography, museology, preservation of the Heritage, discussions about contemporary architecture led to the governmental experience of the 1940s. To keep up this feeling of continuity, the article shows the parallelism between the cultural project of which Hautecœur was at last an actor, and the historiographic project of which he was himself the creator, dealing with the strict reconstitution of the cycle of the history of classical French architecture. Hautecœur who deals with « beaux-arts » as an historian, is now going to do it as a civil servant. So is underlined the role he attributed to the relationship between Art and the State. The stakes of Hautecœur’s. cultural project, that is mainly the idea of the defense of French beauty, are at the same time linked to the specificity of the Vichy period, when the overlapping of his own intellectual and professionnal career with the cultural policy of the Vichy State did not exclude political compromise.
André Hermant, un architecte-muséographe (1908-1978)
Authors: Roulleau-Simonnot Nathalie
Published: June 2021

André Hermant, architect and museograph (1908-1970)

In the 30s, a specialist in putting up advertising stands and arranging exhibitions, André Hermant is familiar with museographic work. From the early sixties, he directs his efforts to the renovation and the building of museums, thus taking part in the budding movement of rehabilitation of the French museal Institution. Refering to the first post war Italian experiences, Hermant reformulates the museum in terms of modernization and clear presentation. However, due to the fumbling policy of renovation and the poorly defined missions of free lance architects by the direction of French museums, Hermant had many conflicts with personalities representing the Institutions (curators, architects in charge of monuments historiques). Nevertheless, Hermont leaves his stamp through brillant work in the renovation of the Musée des antiquités nationales de Saint-Germain-en-Laye the building of the Musée du message biblique in Nice. The renovation of the Petit Palais in Avignon is a difficult enterprise whose final authorship was not attributed to him, whereas the Tapestry Gallery built in Beauvais is of such modesty that it bears witness to his inability to build close to a historical monument.
Les musées de mode et leur public
Authors: Join-Diéterle Catherine
Published: June 2021

Catherine Join-Diéterle :

Fashion museums and their public.

The writer, in charge of the Galliera Museum in Paris, wonders about the increasing lack of interest of the French public for fashion museums, which suffer from their indefinite situation between decorative arts and society museums : they know difficulties specific to the presentation or exhibition of objects. Different means are suggested to bring the public back to the museums and, in particular, active relationships between museums and the new creators of today’s fashion.
Parure et critique sociale : à propos de feuilles en éventail de la première moitié du XVIIIe siècle
Authors: Letourmy-Bordier Georgina
Published: June 2021

Often decried by moralists, fashion and women are the subject of three fan sheets dated between 1730 and 1734, and preserved in the Print Department of the BnF (formerly in the Richelieu collection)

These etchings, conceived as «trompe-l’œil », associate songs, puns and pictures, suggesting a theme given by their titles : «La Coquette »,

L’ Allure ». Through references to the theatre or religious events appear some hints to dissolute life.

In a general way, usurping of clothes from another social class is strongly condemned. Dress becomes a mask that anybody can use in everyday life, to the detriment of high society. Therefore it is an attack against actresses and financiers, probably from the aristocracy and, particularly, from circles belonging to the second «préciosité ».
Jean-Valentin Morel (1794-1860), un bijoutier parisien à l’époque romantique
Authors: Lucas Isabelle
Published: June 2021

Goldsmith, jeweller and precious stones craftsman, Jean-Valentin Morel counts among the masters of the Parisian romantic jewellery, which flourished between 1830 and 1850. After having learnt all the subtleties of the art of adornment as a foreman at Fossin’s between 1834 and 1840, he became famous thanks to his partnership with Henri Duponchel, which enabled him to found his own business, Morel and Co., active from 1842 to 1848, well known, in particular, for its production of «goldsmith jewels », associating sculptured or carved figures with enamels and stones, embedding themes and styles in a romantic mood. Morel had to move to London from 1848 to 1853, where he met with some success, chiefly thanks to fashionable trinkets, but also jewels. Back in France and settled in Sèvres, he busied himself in hi» last years with the creation of adornments mixing gold and hard stones, inlaid with rubies and diamonds. Jean-Valentin Morel’s jewels, highly reputed in his time, demonstrate a high degree of know-how and a remarkable sense of innovation.
Physiologie du gilet
Authors: Zazzo Anne
Published: June 2021

The waistcoat is an essential piece of a man’s wardrobe in the 19th century and is, sometimes, the most flamboyant one. But its history is not well known. The article establishes a parallel between the directions of fashion magazines and tailors’bills — which are the sources of information-and the waistcoat collection of the Galliera Museum, in order to define the tastes of dandies or ordinary citizens.

Its aim is to show how production evolved ; what are the specific materials, who makes waistcoats, how do the prices of this garment, the epitome of elegance, fluctuate.
Images simultanées : les photographies de mode de Germaine Krull commandées par Sonia Delaunay
Authors: Godefroy Cécile
Published: June 2021

Between 1924 and 1931, Sonia Delaunay used fashion photographs systematically to file the creations of her «Boutique Simultanée » and publish them in the international press. She called in professional photographers and artist friends passing through Paris. So took place, between 1926 and 1927, a remarkable cooperation between the artist and Germaine Krull, a photographer of German nationality just settled in Paris. Among the two hundred and fifty fashion photographs kept in the Delaunay Fund at the Bibliothèque nationale de France and the Musée national d’art moderne, coming from the extraordinary Sonia Delaunay Foundation in 1977, about twenty shots are attributed to Germaine Krull. The photographs, published in German modernist magazines, reveal the plastic character of Sonia Delaunay’s creations, as well as taking part in an original way in the history of fashion photographs.
Les parures corporelles au sud-est du Niger
Authors: Léger Delphine
Published: June 2021

The article deals with the techniques of body decorations, direct or indirect, permanent or shortlived, used by the inhabitants of the South East of Nigeria : scarification, body paint, hair. — dress and hair — shaving and/or ornaments made from material. Performed for important ceremonies in the life of a person or a group, ornamentation leads to a real change in the physical appearance, so that the message carried by symbolical patterns can be transmitted to the rest of the community. The use of these signs, whose transmission is ensured mainly by women, is not limited to the decoration of the body of the individuals, since they show in the weaving of textiles, the painting of home walls, the masks, the sculptures and the engraving of wood or potteries.
Les costumes de clowns de la Maison Vicaire (1931-1993)
Authors: Matabosch Genis
Published: June 2021

In February 1997, The musée national des Arts et traditions populaires in Paris received the donation of a hundred and forty-five models for clown costumes whose inventory is presently being made-from Vicair’s in Paris, whose speciality it had been since 1931. It is the opportunity to emphasize the specificity of this kind of clothes : close to the acrobat’s at the beginnings, the clown’s costume finds its own shape at the end of the nineteenth century : a one piece «bag » and a shining «bolero ». Vicaire ’s, also the producer of music hall trimmings, was famous for his embroidered and spangled designs with geometric or figurative patterns (flowers, butterflies, suns, flames). From 1931, but mainly from 1947 to 1993, this family business supplied more than four hundred costumes for the most famous clowns in the world who, all of them, stuck to their «vicaires ».
L’animal dans l’art
Authors: Poplin François
Published: June 2021

Animal in Art.

This article is a previous thought, founded on language, on what is an animal : what are the words that define it, from ancient Greek (the animal is, first of all, what runs around) down to vernacular ? The animal, in several languages, is something else than just meat for consumers. What’s more, its distinguishes itself from the vegetal, which is motionless and unable to have any physical activity. Some animals are close to the human being, as shown by linguistics and comparative anatomy. The capacity of animals to make sense is illustrated by ideography which benefits from the meaning attached to the mental image of the animal.

However, if man can use as tool the animal via art, the reverse cannot be conceived, for it has no access to artistic creation. Anyway, the animal can’t be reduced to matter, for it is form and not matter.
La petite ronde-bosse animalière en métal chez les Celtes
Authors: Vial Éloïse
Published: June 2021

Small Celtic metal animals in the round.

The discovery of metal animals in the round concerns the whole of temperate Europe. They are small sized pieces, mostly in bronze. The Celts selected the animals to be represented. Thus, among species identified by archeologists, a few are shown : birds, horses, cattle, deer, wild boars and a few dogs. The artefacts bearing a zoomorphic decoration are varied : ornaments and implements such as vessel clips, knife handles, roasting spits, poles. The archeological context of their discoveries is linked to the sacred, cemeteries and sanctuaries. Animal figuration is characterized by a strong stylisation of shapes, far from the realistic representation of the roman period. The study of these small finds aims to stress the relationship the Gaelic society used to have with the images of specific animals.
Le coyote dans l’iconographie mésoaméricaine, de 200 ap. J.-C. jusqu’à la Conquête
Authors: Allain Ariane
Published: June 2021

The coyote in Central American iconography (from 250 A. D. to the conquest).

The coyote, an animal specific to the American continent, drew the attention of Indian people from prehistoric times and is still present to-day in the symbolic world of some North American tribes. The artistic production of Central American culture, from the Classical Period (200-900 A.D.) is an excellent evidence of this particular interest : indeed, the coyote is present on a great variety of artefacts : wall paintings, sculpture, pottery and feather works. The violent image developed around the animal is surprising, since the coyote is far less aggressive than other animals of prev : jaguar, wolf or puma. Realistic figuration seems to refer to certain norms, with slight differences according to the cultures. Since the Teotihuacan period (200-750 A.D.), the animal seems to he symbolically related to fertility and war.
L’influence de L’Encyclopédie sur l’édition illustrée au Portugal : la Maison littéraire de l’Arco do Cego (1799-1801)
Authors: Figueira de Faria Miguel
Published: June 2021

The influence of the Encyclopédie on illustrated books in Portugal : Casa Literária do Arco do Cego (1799-1802)

The aim of this article is to show the role of Casa Literária do Arco do Cego, a Portuguese publishing house at the end of the eighteenth century, which enjoyed Royal patronage, and in which the publication of illustrated books figured prominently. The article explains the integrated working process of the various workshops of the House, focusing particularly on the role of image in the editorial process, which was used not to embellish luxury editions, but for didactic purpose. In this context, special attention was paid to the visual sources which served as models, highlighting the major and direct influence of the French Encyclopédie, namely through the copies of the planches of Panckoucke’s version.
Une appropriation de l’image de Poussin sous le Consulat et l’Empire : Pierre-Marie Gault de Saint-Germain (1756-1842)
Authors: Murgia Camilla
Published: June 2021

The biased image of Poussin rendered by Pierre-Marie Gault de Saint-Germain (1756-1842)

Under the Consulate and the Empire, special attention was focused on Nicolas Poussin. At the head of the French School and a model of classicism, he was at the source of numerous studies and publications, which reached a climax with the tendentious edition of the painter’s letters by Quatremère de Quincy in 1824. A little known episode of this reception concerns an outstanding scholar of the time, artist, connoisseur and theorist Pierre-Marie Gault de Saint-Germain. The article describes the strategy used by Gault and his contemporaries to reshape the image of the great painter and turn him into the model for the modern French School.
L’eau-forte « mobile » dans l’évolution de l’estampe originale à la fin du XIXe siècle. Expériences françaises et italiennes
Authors: Dinoia Rosalba
Published: June 2021

Mobil etching in the evolution of original print of the nineteenth century. French and Italian experiences.

From the 1870’s, the phenomenon of “mobil etching” underwent technical experiments which characterize the renewal of the world of etching, chiefly those conducted in the midst of avangardist movements, the Impressionists en France and the Scapigliatura milanese in Italy. A few artists went as far as transforming etching which, from an object implying a series, became an unique work of art and made the most of the paradox of the multiplication of an unique artefact, obtained by the continuous variations of inking up. As regards the French, Ludovic-Napoléon Lepic wrote in 1876 Comment je devins graveur à l’eau-forte ; as regards the Italians, two generations later, Vittore Grubicij de Dragon confirmed the findings of the modern etching with his essay, L’acquaforte nell’arte moderna (1895). We may wonder about the real motivations which led this generation to be so interested in this technique and how the two groups arrive to the adoption of an identical process without entertaining any relationship and starting from totally different historical and cultural bases. What appears as a common denominator is the introduction in esthetical values of a concept of time relativity, to which the world of etching answers in a more significant manner than other kinds of Art.
Between Art and Ethnography: Michel Leiris and the Sculpture of Alberto Giacometti
Authors: Kelly Julia
Published: June 2021

Entre art et ethnographie : Michel Leiris et la sculpture d’Alberto Giacometti.

Dans ses écrits sur l’art, Michel Leiris a occupé une situation inhabituelle, se trouvant à la fois étroitement associé à nombre d’artistes et ethnographe de profession. Cet article examine le développement d’une approche « ethnographique » de l’art dans les écrits de Leiris, par une lecture attentive de son essai de 1929 sur Giacometti, paru dans Documents. Il montre comment ce texte marque un décalage par rapport aux préoccupations de Leiris dans les années vingt au profit d’une conception de l’art dans laquelle le spectateur, dans ce cas l’auteur lui-même, est inévitablement impliqué. L’article souligne l’importance du texte de Leiris par rapport à sa conception particulière de la sculpture. Son essai sur Giacometti qui insiste sur le toucher et le contact physique, s’écarte d’une manière frappante du principe moderniste de l’autonomie de la sculpture.