bluuebunny/crossref_metadata_2025 huggingface dataset:
Paul Jamot (1863-1939) et une histoire « nationale » de l’art
Authors: Jacquot Dominique
Published: June 2021

Paul Jamot (1863-1938 ) and a « national » history of art.

Paul Jamot was one of the most outstanding personalities in French history of art in between the two World Wars. His character is complex : an archeologist by training, he was a curator, an art critic, a collector, a painter and a poet. A deep evolution in his outlook and his tastes took place at the beginning of the first World War. In the following period, the links between Jamot and Catholicism, and with certain artists, M. Denis,

B. Dunoyer de Segonzac, were strengthened and he published numerous articles about art history, which are totally ignored today. His method was in no way dogmatic, but tried essentially to define and revive the mood of each artist. The exhibition of the painters of reality he organized in 1934 with Charles Sterling rehabilitated the Le Nain brothers, and, for the first time, showed a group of works by Georges de La Tour ; it remains to this day the most famous of the exhibitions he organized. Jamot was mostly concerned with French art, essentially painting, whose specific features he tried to pinpoint, dividing painters into two families : the classic and the « modest ».
La Commission des monuments historiques de 1848 à 1852
Authors: Carrez Anne
Published: June 2021

The Commission des monuments historiques from 1848 to 1852.

The Revolution of February 1848 which led to the advent of the Second Republic, caused significant upheavals in many fields. As far as the Commission des monuments historiques, created in 1837 and in charge of the classification and conservation of the Heritage is concerned, this political events did not have the impact one could have expected, except a few administrative modifications.

Thanks to official reports of the Commission, one can note, indeed, that the revolutionary ideals had no influence whatever, neither on its policy of conservation and renovation, nor in the choice of the monuments to be classified, nor in the principles which presided to their renovation. The Heritage policy went on the same lines as the years before : typical monuments to be safeguarded, predilection for medieval religious architecture, actions limited by an insufficient budget. Only with the Second Empire and the meaningful increase in credits allocated to the commission, will appear a policy of audacious and creative restructurations.
Les Monuments historiques et la Reconstruction : l’exemple du quartier des Quatrans à Caen
Authors: Gourbin Patrice
Published: June 2021

Monuments historiques and Reconstruction : the case of the « Quatrans Area » in Caen.

In France, the rebuilding of towns destroyed during the Second World War is an opportunity to experiment in architectural modernization. In 1953, in Caen, an Housing Estate of 500 dwellings, based on the principles of the Athens Charter are going to be built in the center of the town, on the site where many first rate classified monuments remain. The article describes the attempts of the Service des monuments historiques to have the project modified. The new law on the surroundings of historical monuments (February 23, 1943) defines the new means of intervention. The services, after obtaining limited modifications have to admit their defeat.

The confrontation compels them to define and express a new doctrine as far as the surroundings of historical monuments are concerned.
Modèle de vestiaire
Authors: Balut Pierre-Yves
Published: June 2021

Among the objects brought to light by archaeology and art history, clothes are, no doubt, the worst treated. Should they be studied from a technical or social point of view or through the sensations they arouse or through their relationship with art (mainly contemporary7 art) ? How can we define the model which would both link them to other arts and allow a comparison with other artefacts used to shape the social individual ?
Autour de la couleur du vêtement à la cour de Savoie, à la fin du règne d’Amédée VI
Authors: Gauffre Nadège
Published: June 2021

The records of medieval accounts in Savoy are very explicit about the clothes made for the members of the Count’s house. Between 1378 and 1383, under Amédée the 6*, the study of colour underlines the links between the staff and the different people in power, without any hierarchy attached to the colour of the material. However, its quality and geographical origin clearly reveal the different strata of the court society.
Odeurs intérieures, atmosphères parfumées aux XVIIe et XVIIIe siècles
Authors: Cochet Vincent
Published: June 2021

Introduced in France by the Valois family, perfumes reveal a variety of practices and of feelings very different in the seventeenth and eighteenth centuries. To body perfumes, accused of concealing bad smells, are adjoined different fragances cast in the atmosphere thanks to different procedures which led to the creation of new artefactss and valuable pieces of furniture sold by the «marchands-merciers » : perfumed fountains, » cassolettes », incense-burners, «pots-pourris » and even perfumed wainscots. Perfume became a part of the art of living in the eighteenth century.
Les animaux dans leur jardin : l’architecte Jacques Molinos et la ménagerie du Muséum d’histoire naturelle à Paris, 1795-1827
Authors: Chateau Emmanuel
Published: June 2021

Animals in their garden : the architect Jacques Molinos and the Menagerie of the Museum of Natural History in Paris (1795-1827).

The plan to set up a menagerie in the Museum of Natural History was on foot during the French Revolution, but carried out by the architect Jacques Molinos from 1795 to 1827. The idea was to create a new kind of establishment, the zoological garden for which Lacépède gave a detailed program. The history of the successive plans reveals to what point resorting to the landscape model was dependent on the revolutionary context, as well as on the sensualist theories of the Enlightment. The Western part of the Jardin des plantes was to be arranged as a tree garden with picturesque fabriques scattered here and there to house the animals. The different programs given to the architect in the following years show how, along with the evolution of scientific ideas and of physiology, the landscape model gave place to the gallery system. The setting of the Menagerie concerned as a public establishment, devoted to exhibitions and scientific research, appeared as a model for all the zoological gardens built in the first half of the 19th century.
Saint-Martin-aux-Bois et Cologne : aspects de la « perfection » dans l’architecture gothique vers 1250
Authors: Klein Bruno
Published: June 2021

Saint-Martin-aux-Bois and Cologne : aspects of « perfection » in gothic Architecture c.1250.

The gothic church of Saint-Martin-aux-Bois (Oise), whose building started about 1240-1250, shows inside a very specific system of props : all the pillars are treated as variations of the same type. This entails consequences for the entire architecture of the monument, which was conceived in a structural logic carried to the extreme.

Even if all the details of this architecture have already been used in other monuments in the same area, their association here remains unique in France, even if the cathedral of Cologne offers similar solutions in form and structure. It can thus be deduced that the architecture in Cologne, usually closely linked to French models, but also very innovating, reflects in this detail French tendencies unknown up to that time.
Souvenirs parisiens, 1953-1954
Authors: Castelnuovo Enrico
Published: June 2021

Parisian Memories.

Enrico Castel-Micro recalls his parisian experience as a young Art history student, in 1953-1954.

It is for him the opportunity to remind us of the research facilities he found in the different institutions, libraries and museums, as well as his meeting great historians of the time, mainly specialized in the medieval period. He was struck both by the intellectual qualities of some scholars and by a kind of stiffness and division in the world of Art history which, according to him, was to give way, only thanks to André Chastel’s influence.
Pausanias, voyageur et critique d’art
Authors: Guilmet Céline
Published: June 2021

Pausanias as a traveller and critic.

The visual writing of Pausanias can legitimately retain our attention. The descriptive rhetoric of the traveller is based on “ autopsia ”, a direct vision of works of art. Pausanias travels to see the artefact in its environment but also to store all the traces of greekness. The systematic curiosity of the traveller, interested in sacred matters and special features of the Greek landscape, completed with strong preferences, artistically speaking. Pausanias is fond of understatement, but his remarks are the proof of an experienced approach that can recognize styles and point to what should be seen. These different attitudes weave into writings necessary for understanding the cultural uses of the second century, that can be read as an Encyclopaedia or looked upon as a book of pictures. This extremely rich visual writing influenced travellers, scholars and artists of the eighteenth and nineteenth centuries.
L’enjeu politique et religieux des modes de représentation dans les Mémoires concernant les Chinois (1776-1791)
Authors: Lee Chao-Ying
Published: June 2021

The political and religious stakes in the means of illustration in the Mémoires concernant les Chinois (1776-1791 ).

This article studies two series of pictures from the Mémoires concernant les Chinois illustrating, on the one hand, a flooded Chinese town in 1742, and, on the other hand, a biography of Confucius presented as an ancient narrative. Two means of illustration are obvious. The series about the flood, true to the Chinese style, showing various technical themes, has a political purpose wanted by Minister Bertin : borrowing in China examples of government and agriculture which could be a model for reforms in France. The other series, concerning the life of Confucius, ordered by the Jesuits, shows Confucius as a scholar following the model of Ancient Virtue ; it mixes Chinese themes and style with European iconography (religious or ancient) and underlines the important part played by Confucius as a corner . stone with a view of evangelizing the Chinese society.
Instruire et séduire : la propagande visuelle de la mission Citroën Centre Afrique (1924-1925)
Authors: Bories Estelle
Published: June 2021

To teach by seducing : visual propaganda at stake in the Mission Citroen Centre Afrique (1924-1925).

Cleverly conceived and endowed with exceptional technical means, the Mission Citroen Centre Afrique succeeded, against the colonial background of the time, in making two notions coexist : the glorification of primitivism and the exaltation of progress. Its popular impact comes mainly from the broadcasting of its pictures. Their seduction led to the postulation that Africa was to be rediscovered. However, due to their ambiguous position between aesthetic and ethnologic documents, the images of this mission can easily be manipulated. Therefore, beyond the affirmation of a modern imperialism, the iconographic models inherited from the past remain strong and question the means used by our civilisation to suggest, thanks to images, the idea that these conquered territories have been subdued.
Les sectilila pavimenta bichromes de la Gaule romaine ou le luxe en noir et blanc
Authors: Dugué Caroline
Published: June 2021

Caroline Dugué : The bichrome sectilia pavimenta of Roman Gaul or luxury in black and white.

The pavements called sectilia pavimenta in Antiquity appear in Italy in the last decades of the 2d century B-C. or the first ones of the following century.

Those floor decorations are made of thin slabs of marble or polished stones called crustae which are sawn and cut, and then imbricated together so as to form geometrical patterns obtained by chromatic contrasts. These stone patchworks spread in Italy, then, little by little, to all the areas of the Roman Empire. In Gaul, bichrome formulas, founded on the use of black and white, exclusively used marble or lime stone associated to schist or slate. The black and white sectilia are obeyed to the orders of patrons, whether aesthetic, functional or financial.
Entre la maison Goupil et l’Italie, un axe commercial porteur d’une image identitaire
Authors: Lagrange Marion
Published: June 2021

Marion Lagrange : Between the Goupil firm and Italy : a commercial axis bearing an identifying image.

Trading in art as well as print maker, the Goupil firm owes its fame to its affiliated artists and to its activity in Europe and the United States. From the 1860’s, its role became of first importance for Italian painters, even if the French critics saw in their paintings the very picture of the decline of Italian civilization.

Over a period stretching from 1861 to 1911, more than 1400 paintings were acquired and 268 reproduced as prints. Without establishing branches in the peninsula, the director privileged relations with the artists, thus creating a commercial network in the whole peninsula. The Goupil firm, as well as insuring the painters a recognition beyond Italy, nevertheless urged them to respect the aesthetic requirements of the merchant and his clients. Thus it offered in Paris and abroad a show-case of Italian painting closer to the taste of collectors and critics and gave a more coherent image of Italian art.
L’œuvre de Max Klinger vu par ses contemporains français
Authors: Thézelais Cécile
Published: June 2021

The work of Max Klinger as seen by his French con temporaries.

Initiated by Jules Laforgue in 1882, French criticism of German artist Max Klinger (1857-1920) will however remain rare all along his career. Besides a few brief mentions, only three critics write at length about his works : Emile Michel in 1894, the marquis de La Mazelière in 1900 and Louis Réau in 1908. Not withstanding the lack of interest of French critics for German art at that time, the analysis of these few assessments shows that the French stereotype, according to which German art is philosophical but also technically poor dies hard. This conventional point of view is clearly linked with the question of taste, behind which looms the superiority of an art and a nation above an other. An other point about Klinger’s reception appears in these texts : the critics have often been baffled by the difficulty of understanding his art.
Vingt ans de recherches sur l'architecture française (1540-1708)
Authors: Mignot Claude
Published: June 2021

Twenty years of studies in French Architecture (1540-1708).

This article reviews the last twenty years (1983-2003) of French historiography about the first 150 years of classical French architecture, from Serlio’s arrival in Fontainebleau to Jules Hardouin-Mansart’s death. Rather than an outdated or too uncertain terminology (manierism, baroque, classicism) new notions came to light : French rustic style, architectural licence, atticism, Grand style, notions linked to a more complex chronological sequence with successive inflexions concerning the use of ornament (1560), religious architecture (1600-1610), new commodities in private houses (c. 1630-1640), a first reform in relation with Palladianism (1638-1640) and, finally, the birth of a Grand style, inspired by Michelanglo, Bernni, Vignola and Palladio (1653-1660).

Until 1988, the monographies on French architects of the period were very few, or coming from abroad, mainly from Anthony Blunt and his students. In the past twelve years, the situation reversed with a lot of monographies listed in appendix.

In the same years a new attention was paid to the reconstruction on paper of the original planning, to the links between social life and room arrangements, to the evolution of each component of the French apartment, and a more precise reading of formal langague, from the smallest classical motives to the lasting taste for wall ornaments and contrasting volumes.
Le palais ducal de Nevers (1467-1480)
Authors: Fontan François
Published: June 2021

The Ducal Palace in Nevers (1467-1480).

Between 1467 and 1480, Earl Jean de Berry ordered the building of a palace in Nevers. Built on the highest place of the town, it doubtlessly has a symbolical meaning. The architect conceived it as a chateau to be seen, rather than to be lived in. Thus the façade offers the first example of organization in princely architecture, enhanced by a central flight of steps on a monumental perron decorated with heraldic sculptures. Such an attempt in rationally organizing the structure may have been guided by the existence of a double dwelling, laying out two similar apartments around a common hall. Anyway, this original choice testifies to the mature creative ideas, shortly before the Renaissance, and makes Nevers a remarkable example of princely architecture in which monumental invention remains faithful to a strong national tradition.
Les embellissements de la ville du Havre au XVIIIe siècle
Authors: Lemonnier-Mercier Aline
Published: June 2021

The improvements to Le Havre in the 18th century.

In the 18th century, Le Havre whose houses were built in wood and cob, was still surrounded with fortifications dating back to Richelieu’s time. The growing population and the ever denser sea traffic made it necessary to organize the extension of the town and harbour. In the 1750s, the Town Council, wishing make the town safer and more beautiful, set out new building rules and decided rebuilding of the court of justice on the market place, so called “des cannibales ” and to surround it with stone houses. However, no important work was to be started officially before Louis XVI’s visit in 1786. The demolition of the North bastions of the fortifications was decided, which enabled to create a new district around the trade dock, and a new South district on the site of the partly pulled down citadel was planned. Here would be built the theater opening on to a square devoted to Louis XVI, whose modern style would be extended to all the buildings in the town. These ambitious plans were to be only partly carried out, but work was resumed about 1815, giving the town its present organization.
Le retable du Portement de Croix de Francesco Laurana et ses vicissitudes
Authors: Hagmajer Matylda
Published: June 2021

The Bearing of the Cross altarpiece by Francesco Laurana and its vicissitudes.

Ordered by René d’Anjou to Francesco Laurana in 1478, to adorn the main altar in the church of the Celestin order in Avignon, this altarpiece has undergone much handling before being set in its present place, i.e. the fifth South chapel in Saint-Didier’s church in Avignon. The moves it was subject to have deeply altered its primitive structure, leading to the loss of some parts, such as the wooden case, closed by wings, which sheltered the marble sculptures. Moreover, the basement and the central part representing the Bearing of the Cross and the Swooning of the Virgin, against a cityscape, were disjointed. Some dug-up documents, along with an analysis in situ of the traces of the breaks, have enabled us to work out the material history of the monument and put forward a hypothesis as regards its original shape.
Art et politique chez les princes des fleurs de lys
Authors: Plagnieux Philippe , Taburet-Delahaye Elisabeth
Published: June 2021

Art and Politics as practised by the “princes des fleurs de lys”.

The authors wish to contribute to the research about the relationship between Art and Politics by refering to the meaningful cases of Charles V, his brothers and his sons. The former expressed his will to legitimize the Valois dynasty and his views of royal power in major artistic achievements, and also by selecting images to illustrate illuminated manuscripts or pieces of goldsmithwork. The latter wanted to imitate and extend this policy — but didn’t they blur the message they wanted to assert ?
Charles le Chauve trônant et la Maiestas Domini. Réflexion à propos de trois manuscrits
Authors: Poilpré Anne-Orange
Published: June 2021

Charles the Bald enthroned and Majestas Domini : about three manuscripts.

The development of the representation of the enthroned sovereign in religious manuscripts corresponds to the enlargment, in the same period, of the notion of what the good king and the good government are The place of the throne in these portraits, an image evolving from the field of divine representations to that of the emperors, enables to set forth the continuity and well-being of the kingdom. Christological themes such as Majestas Domini connected to those portraits make up an iconological programm on which the stability of hierarchies of the earthly and heavenly worlds is founded.
Une artiste et son Premier ministre : entretiens familiers avec W. E. Gladstone (1884-1890)
Authors: Leduc-Grimaldi Mathilde
Published: June 2021

A woman artist and her Prime Minister : informal remarks on Art by W.E. Gladstone (1886-1890).

Thanks to her social status, Dorothy Tennant had, on several occasions, the opportunity of meeting painters as well as key politicians of the end of the 19th century. From her diary', the personal relation she had with the liberal Prime Minister W.E. Gladstone can be brought to light ; thanks to the account of their conversations it is possible to know' better the artistic opinions Gladstone voiced, particularly as regards the portrait and British painting.
Les Cathédrales françaises de Nicolas Chapuy entre pittoresque et étude analytique
Authors: Rodriguez Peggy
Published: June 2021

Les Cathédrales françaises by Nicolas Chapuy : picturesque or analytical study ? .

The latest studies on cathedrals in the 19th century do not mention the series Cathédrales françaises published by Nicolas Chapuy between 1821 and 1831. Composed on the model of English archeological portfolios which allied text and illustrations, it neverthelesss inaugurated new studies on mediaeval architecture, whose vocabulary was next to non existent and whose images remained the best definition. To carry out the enterprise, Chapuy recruited well-known personalities both for the texts and illustrations. The series met with immediate success. It was to play an important part in the perception of the cathedral as a monument symbolising the nation and its enhancement, which was the answer to the theories advocating the clearing of space around the monuments.
La discipline du folklore en Grèce et l’étude de l’architecture populaire
Authors: Gaulis Inès
Published: June 2021

The study of folklore and popular architecture in Greece.

For one surveying the history of architecture in Greece, Antiquity takes the first place, followed by Byzantion and modern Greece, with its neoclassical architecture. The Ottoman period seems to be forgotten. From the time Greece became independent in 1830, the architecture of this period was even totally rejected. This paper is about the way in which, from 1920, two Greek folklorists, Georges Megas and Angeliki Hadjimichali, dealt with the domestic architecture of the Ottoman period. It was thanks to the development of folklore that an interest in this architecture finally emerged ; on the one hand, Greek folklorists attempted to prove the Greek origin of popular architecture by underlining its antique ascendancy ; on the other hand, they did their best to cut out any foreign influences likely to hinder their demonstration.
La tour dite des Ursulines à Autun, une démonstration du pouvoir des ducs de Bourgogne au XIVe siècle
Authors: Besnier Christophe
Published: June 2021

The so-called Tour des Ursulines in Autun, an assertion of power by the Dukes of Burgundy in the 14th century.

At the south-west end of the gallo-roman wall of Autun rises the so-called Tour des Ursulines, the only remain of the castle built by the Dukes of Burgundy. Due to its strategic situation, its impressive and austere aspect, its fortifications, it is a most relevant example of an architecture in the service of power. So far, this monment was thought to have been erected in the 12th century.

A careful study contradicts this hypothesis. If a new date cannot be founded on dated decorative elements or significant texts, the architectural characteristics of the tower point to a construction in the first half of the 14th century, which would make it a work ordered by Duke Eudes. Its architecture places the tower in the long line of royal and ducal constructions asserting all the same its originality.
Le Vercingétorix d'Aimé Millet (1865), image équivoque du premier héros national français
Authors: Jagot Hélène
Published: June 2021

Aimé Millet’s Vercingectorix (1865) : an ambiguous image of the first French national hero.

Ordered in 1863 by Napoleon III, Aimé Millet’s Vercingectorix is largely forgotten today by the national community. However, this statue is an important work of the 19th century as far as not only public statuary, but also the Celtic thematic are concerned. Indeed, considering its proportions, it is one of the most important monuments of the century and it testifies to the stabilisation of the iconography of the Gaulois and to the accession of Vercingectorix to the rank of official hero of French history. The partial failure of the venture is due both to the material execution of the work and to the political intentions of the order. Napoleon III wished to commemorate an important event of the De Bello Gallico as well as to compete with the Prussian monument to Arminius, whereas Vercingectorix’s admirers wished the monument to be erected in honour of the first French patriot. These differences of opinions will cause the lack of popularity of the statue : to the figure of Millet’s loser, even before the fall of the Empire, the public prefered the fighting Vercingectorix by Bartholdi.
Les Assemblages de Bernard Pagès : entre déconstruction et reconstruction
Authors: Jamet-Chavigny Stéphanie
Published: June 2021

The Assemblages by Bernard Pagès between deconstruction and reconstruction.

Starting from a given protocol : link two wooden rods, Bernard Pagès elaborates the series of Assemblages between 1972 and 1978. It is for him the opportunity to introduce gesture in sculpture by working both on w'ood and on binding means. First based on the idea of enumerating all the possibilities of linkage, the series evolved in the course of the years 1974-1975 from the logic of dwindling to the logic of growth. Pagès then seems to rebuild, according to a vocabulary of his own, a forceful sculpture. However, in spite of their seeming more and more built, the Assemblage s already include some deconstruction. Indeed, the sculptor goes beyond his self-made rules by increasing to their utmost the bindage means and by adding colour. Thus Pagès sets up a reflection based on the dialectics of deconstruction and reconstruction.
Peintures murales médiévales : tendances et perspectives de recherche
Authors: Russo Daniel
Published: June 2021

Medieval wall paintings : tendencies and perspectives for research.

After a long period of hesitation between the inventory genre and the synthesis, the study of medieval wall paintings was specified after the 1980s and campaigns started for a general inventor)’ of the monuments and artistic heritage, covering then almost the whole national territory. In the meantime, the paintings became the object of global enquiries with technical, stylistic and iconographie contributions, in which the architectural realities, the practises of liturgy and the regional context were especially taken into account. The attention was put more and more on the building’s skin which was to be found for better preservation, as well as on the ensemble of supports, mortars and plasters, whose analysis permitted to restore the mural surfaces. Besides all classification efforts, the study of the surviving examples of painted decors demonstrated the social logic in the art work between the 12th and 15th centuries.
Le danseur indien au carquois : relecture d’un décor peint du sanctuaire de Bois l’Abbé
Authors: Frésard Noémie
Published: June 2021

The Indian dancer with quiver : re-reading of the painted scene at the sanctuary of Bois l’Abbé.

The excavations of Gallo-Roman structures at Eu-“Bois l’Abbé” (Seine-Maritime), which were carried out between 1965 and 1978 and resumed since 1994, revealed an important cultural zone that was reshuffled by many phases of occupation. During the excavations of 2002, a survey revealed a plate of mural painting with a remarkable scenery. Because its ornamental vocabulary and its mortar were similar to the group of coating fragments studied in 1986, it was decided to re-examine these fragments in order to have an updated reading of them. The iconographie analysis of two human figures, one of which decorates the recently discovered plate, helps to exemplify the Dionysian and historical references. The building decorated by these paintings still waits to be studied. The stylistic analysis of this ensemble tends to be dated around 130-140 A.D.
De pinceau et d’épée. La peinture de bataille en Italie (XVIe-XVIIIe siècle) : vers une dissolution des formes
Authors: Delaplanche Jérôme
Published: June 2021

On brush and sword. The battle painting in Italy (16th-18th century) : towards dissolution of forms.

The representation of battles in the Roman and Tuscan Renaissance painting is dominated by the mannerist style : few naturalistic coloration, predominance of the line and contour on the effects of the atmosphere, predilection for the complexity of compositions, all of which adds the work the character of “tour de force”. With the production of Michelangelo Cerquozzi and Jacques Courtois in the 17th century, the treatment of the subject was well developed. From then on, the tumult of mixing of the horsemen has direct consequences on representation. Absorbed by the light-dark contrast, the forms of soldiers and horses become less distinct. Starting from the end of the 17th century, this tendency towards confusion accentuates with the development of a much established pictorial style. The figures lose solidity, but the act of painting gains vigor and energy to the extent that it appears to be the imitation of the act of combat.
La conquête scientifique de la Tunisie : l’antagonisme des pratiques patrimoniales
Authors: Bacha Myriam
Published: June 2021

The Scientific Conquest of Tunisia : Conflicting Patrimonial Practices.

The scientific conquest of Tunisia began in the early 1880s following a decision of the French Académie des inscriptions et belles-lettres (fine arts academy) and the ministère de l’Instruction Publique (ministry of education). An archeological campaign was launched with the intention of developing archeology in the countries of the Mediterranean Basin. Support for this project came from two newly created divisions of the ministère de l’Instruction Publique, the Service des voyages et des missions scientifiques et littéraires and the Division des sciences et lettres. An official of the Ministry, Xavier Charmes, created the Mission de Tunisie and sent René du Coudray de La Blanchère as a delegate from this organization to work on the inventory and preservation of the Tunisian heritage. With some difficulty, La Blanchère established the Service des antiquités et des arts. His approach was unorthodox. He tried to combine the model set by the Académie with that of the Service des Monuments historiques. Responding to the specific context of Tunisia, he did not limit his interest to ancient monuments, but recognized the importance of the Arab and Turkish heritage as well. Firmly opposed to this view, Xavier Charmes managed to restrict his delegate’s task to the sole preservation of the ancient heritage, thereby avoiding an intrusion from the Service des Monuments historiques in the missions sponsored by the Institut. La Blanchère complied and from then on strictly adhered to the practices of the Académie des inscriptions et belles-lettres. He later founded the musée Alaoui in the Bardo.
Le rôle des ingénieurs dans l’architecture en France (1945-1975)
Authors: Frapier Christel Constance Madeleine
Published: June 2021

The Role of Engineers in French Architecture from 1 945 to 1975.

Borrowed from the field of sociology, the concept of a “network” is a precious tool for architectural history. Applied to the case of engineers working in architecture in France between 1945 and 1975, it can help us understand how skills and knowledge, and technical know-how particularly, were transmitted on a national, European and international scale. Working from within the already existing networks of architects, engineers created on a national and European scale their own network of teachers, and, later, of researchers. This was the first step in their utopian attempt to coordinate research on a global, international scale.
Le rythme des images et de la voix
Authors: Schmitt Jean-Claude
Published: June 2021

Dans une réflexion plus générale sur les conditions d’une histoire longue des rythmes sociaux, cet article propose d’analyser l’ensemble des rythmes temporels, formels, chromatiques et sonores, qui définissent la prière du psautier comme une « performance » globale. Il s’appuie pour cela sur la comparaison de deux manuscrits allemands du début du XIIIe siècle, étroitement apparentés et richement décorés : le psautier d’Elisabeth de Thuringe (ou de Hongrie) et le psautier du landgrave Hermann de Thuringe, son beau-père. Si la structure de ces manuscrits est fort semblable, en ce qui concerne notamment la division du psautier, des différences plus ou moins importantes affectent les choix iconographiques, la mise en scène du calendrier, la série des miniatures pleine-page, les initiales historiées des principaux psaumes et des cantiques, la décoration des litanies. L’omniprésence de la notation neumatique, qui non seulement accompagne les psaumes et les cantiques mais donne une dimension musicale aux tituli latins ou même allemands des images, distingue fortement le psautier d’Elisabeth et pose le problème de son usage et de ses destinataires. Fort de ces observations minutieuses, l’article plaide pour une analyse sérielle des images et de leurs supports, propre à mettre en valeur des scansions rythmiques, visuelles et musicales différenciées ; cela suppose un décloisonnement des disciplines, notamment entre histoire de l’art et musicologie, mais aussi entre histoire et anthropologie.
Le musée entre fait missionnaire et anthropologie
Authors: Zerbini Laurick
Published: June 2021

The Museum Between Missiology and Anthropology

Very early on the debate surrounding the evangelization of non-Christian populations revolved around anthropological concerns. At the end of the nineteenth century, the expansion of mission work overseas and the developmental difficulties confronting the propagation of the Christian faith brought about a more committed position. This in turn necessitated more study and a deeper understanding of the new populations encountered and of material cultures. This is exactly the same time that anthropology as a cultural, social and scientific discipline appeared first in the United States then in Europe. Within this emerging anthropological field, certain religious figures - notably Wilhelm Schmidt who founded the journal Anthropos in 1906 - made their mark with groundbreaking work. Museums became an integral part of the missionaries’ anthropological approach and their broader understanding of non-Western cultures. By studying the missionary museums of Lyon and Rome, this article analyzes the links between missiology and anthropology. Figures such as Wilhelm Schmidt (Lateran Museum) and Francis Aupiais (Société des Missions Africaines, Lyon) highlight the complex nature of the ties between missiology and museums as institutions. An analysis of these tangled links will hopefully shed new light on the types of knowledge proposed by missionary museums.
L’Autre Pierre Verger. La modernité du regard photographique dans les années 1930
Authors: Maillard Fabienne
Published: June 2021

Au cours des années 1930, Pierre Verger voyage dans le monde entier et rapporte un corpus d’image d’une étonnante modernité. Le résultat de ce travail photographique nous amène à réfléchir sur les conditions de leur réalisation et à définir dans quelle mesure Verger contribue à la construction d’un regard nouveau sur l'Autre.

Les années 1930 sont pour le photographe Pierre Verger un véritable tournant. Dans un contexte artistique parisien en pleine effervescence, il s’engage dans de nombreux projets photographiques : il devient membre de l’agence photographique Alliance Photo en 1934, bénévole au musée d’Ethnographie du Trocadéro, reporter-photographe pour Paris Soir... Les photographies de ses premiers reportages présentent des qualités esthétiques qui révèlent une modernité de l’ordre de celle de la Nouvelle Vision.

Verger propose en outre des images de l’Autre qui traduisent une certaine sensibilité, et ce dès son premier voyage en Afrique en 1935. La démarche de Verger est très innovante. Il privilégie une expérience sur le terrain, une instantanéité, un échange avec l’Autre. Le contenu ethnographique dans les images de Verger est indéniable ; il ne place pourtant pas son regard comme un ethnologue qui étudie les peuples, mais comme un homme désireux de rencontrer et d’échanger. La vision de Pierre Verger s’affirme d’emblée comme singulière, éloignée de tous les stéréotypes de l’époque coloniale, et il s’impose comme un précurseur de l’anthropologie visuelle.
L’appropriation surréaliste de « l’art sauvage » dans l’entre-deux-guerres : l’objet surréaliste contre l’objet colonial
Authors: Leclercq Sophie
Published: June 2021

Dans l’entre-deux-guerres, alors que la première vogue primitiviste de l’« art nègre » a déjà eu lieu, les regards portés sur « l’art sauvage » se multiplient. Les objets océaniens, africains et amérindiens accumulés dans les musées sont le support d’une ethnographie qui utilise de plus en plus ces témoins matériels comme point de départ à sa réflexion sur les peuples. Les membres du mouvement surréaliste qui s’intéressent à ces objets entretiennent des rapports avec le milieu du musée d’Ethnographie, ce qui a incité d’aucuns à parler de « surréalisme ethnographique ». Outre cette proximité sociologique, ces surréalistes utilisent les « objets sauvages » dans leurs expositions et leurs publications, en les identifiant au mouvement surréaliste lui-même. Néanmoins, l’appropriation de ces objets entend se construire contre la science ethnographique. Les points de passage entre surréalisme et ethnographie, comme la revue Documents ou le marché de l’art « primitif », auquel les surréalistes participent pleinement, mais aussi leurs tentatives de distanciation vis-à-vis de cette discipline, révèlent les stratégies qu’ils placent dans ces objets des plus suggestifs à leurs yeux. Ils révèlent aussi les ambiguïtés de leur rapport à cette science qu’ils tiennent pour « colonialiste ». À travers le cas des surréalistes, l’oscillation entre objet d’art et objet ethnographique pose alors la question de l’objet « colonial ».
Jean Boachon, un peintre-verrier bressan au début du XVIe siècle
Authors: Morel Marie
Published: June 2021

Le musée de Brou à Bourg-en-Bresse conserve l’unique volet sauvegardé d’un retable consacré à saint Antoine de Padoue. Datée aux alentours de 1500, l’œuvre fut attribuée à « l’école provençale » dès 1960. En 2001, Dominique Thiébaut mit le panneau en relation avec un prix-fait, passé en 1515 et conservé à Avignon. Paul Cattin suggérait alors que le peintre du retable, Jean Boachon, habitant de Bourg-en-Bresse, pouvait être en réalité Jean Brachon, peintre-verrier, actif dans cette ville au début du XVIe siècle. Or le contenu du contrat permet d’établir avec certitude qu’il a été passé dans le couvent des franciscains de Bourg-en-Bresse, probablement en vue du synode diocésain qui allait y avoir lieu en 1516. Une certaine influence italienne manifeste dans une des scènes ne semble pas justifier le rattachement du retable à la production provençale, car l’ensemble de ses motifs décoratifs est repérable dans nombre d’autres œuvres, créées dans le nord de l’Europe. L’étude formelle révèle en outre une forte composante nordique. Ces diverses influences s’expliquent par la situation géographique et politique de la ville au début du XVIe siècle. Enfin, l’hypothèse que Jean Boachon et Jean Brachon soient un seul et même artiste se vérifie par la comparaison de leurs noms dans deux contrats, et par l’étude de plusieurs verrières créées au début du XVIe siècle dans l’Ain.
Augsbourg, centre de reproduction de gravures d’ornement parisiennes au XVIIIe siècle
Authors: Poindront Philippe
Published: June 2021

Au XVIIIe siècle, le grand vecteur de transfert des idées décoratives françaises vers l’Allemagne fut l’estampe dite « d’ornement ». Dans ce domaine, la ville d’Augsbourg occupe une place déterminante car la cité était devenue le foyer artistique de l’Allemagne du Sud, et l’un des principaux centres européens de publication de gravures. Très rapidement après leurs parutions, les recueils parisiens furent contrefaits à Augsbourg, et servirent de base pour la création de nouvelles planches marquées de l’empreinte augsbourgeoise. Au XVIIIe siècle, quatre éditeurs consacrèrent une partie de leur production à la contrefaçon : Jeremias Wolff (1663-1724), Martin Engelbrecht (1684-1756), Johann Georg I Hertel (1700-1775) et Johann Georg Merz (1694-1762). Les planches devaient inspirer les orfèvres, stucateurs et peintres de fresque, tous en étroite relation avec le milieu augsbourgeois. Mais ces contrefaçons ne constituent qu’une partie de la production locale, et les planches d’ornements inventées par des dessinateurs augsbourgeois furent innombrables, et indépendantes de la production parisienne.
Le duc de Morny, collectionneur du Second Empire
Authors: Emlein Robin
Published: June 2021

The Duc de Morny, a Collector in the Time of the Second Empire

Though the legacy of the duc de Morny, pivotal political and social figure of France’s Second Empire, has been largely debated by historians, none have fully addressed the question of his role as one of the most highly-recognized European collectors of his day.

This study seeks to shed light not only on the major phases in his twenty-year career as a collector, but also on the relative importance of his collection as an example of 19th-century French taste for 17th-century Dutch and Flemish painting, as well as on the function of the collection for Morny and his contemporaries. The duke’s place in the network of contemporary Parisian collectors, his growing involvement in the artistic scene of his day, and his increasing importance as a public figure provide clues enabling us to sketch a portrait of Morny as a savvy collector motivated by pleasure, profit, and prestige. This article hopes thus to further research in an area that remains relatively unexplored, that of the history and culture of collecting in France from 1840 to 1870.
Les musées de Nantes et de Montpellier : deux collections représentatives en province
Authors: Bertinet Arnaud
Published: June 2021

Arnaud Bertinet

Les musées de Nantes et de Montpellier : deux collections représentatives en province

Si l’histoire des grandes institutions muséales parisiennes au XIXe siècle est bien connue, il n’en est pas de même pour la plupart des musées de province qui traversent alors une époque d’une extraordinaire richesse pour leur développement et l’enrichissement de leurs collections. Afin d’apporter un éclairage nouveau sur ceux-ci, l’auteur analyse l’histoire des collections des musées de Montpellier et de Nantes, considérés comme deux des plus riches musées de France au milieu du XIXe siècle. Emblématiques de la genèse des institutions françaises, ces deux musées de province vont prendre un poids considérable dans le paysage muséal français, notamment sous le Second Empire grâce à une politique d’acquisition volontariste et des donations exceptionnelles. Ils n’en sont pas moins des exemples tout à fait représentatifs du système muséal et de la formidable activité qui anime les musées français à cette période, nous permettant ainsi de valoriser la politique artistique de Napoléon III, encore trop souvent victime d’approximations.
Arman et sa réception outre-Atlantique, 1961-1965
Authors: Bouchet Renaud
Published: June 2021

Renaud Bouchet

Arman et sa réception outre-Atlantique, 1961-1965

Si elles ont été relativement discrètes, les réactions américaines à la disparition d’Arman, en octobre 2005, ont néanmoins montré que les Etats-Unis ont adopté l’artiste d’origine niçoise. Mais cette reconnaissance paraissait au départ peu évidente. Le père des Accumulations et des Colères fit son entrée sur la scène new-yorkaise au début des années 1960, au moment où, réagissant à l’étouffant monopole artistique de Paris, elle se fermait quasi hermétiquement à la création française et à ses représentants. Comme Yves Klein, Jean Tinguely ou César, Arman subit les effets de cette résistance culturelle dès son premier séjour outre-Atlantique, à la fin de 1961. Moins de quatre années plus tard, il était pourtant admis dans le sérail des plasticiens new-yorkais. Plusieurs facteurs ont conditionné à la fois cette assimilation et la rapidité du phénomène : la volonté de l’artiste de s’engager sans restriction dans la vie artistique new-yorkaise, son utilisation stratégique d’un réseau relationnel influant, et enfin la perméabilité de sa procédure accumulative et destructive à une esthétique Pop devenue vitrine expressive de l’Amérique triomphante en 1962.
Élie Azagury à la confluence des modèles de l’architecture moderne
Authors: Broux Marine
Published: June 2021

L’architecture qui s’épanouit dans les années cinquante-soixante au Maroc se trouve au cœur des enjeux de l’architecture moderne du Mouvement International. Son caractère hybride est le fruit de l’interaction entre les modèles européens ou américains, diffusés par les revues d’architecture moderne ou par les CLAM, et les formes de l’architecture vernaculaire méditerranéenne. Dans ses débuts, Élie Azagury (1918-2009) expérimente à Casablanca les formes empruntées à l’architecture Scandinave et californienne, qui répondent aux exigences climatiques locales et à celles de la « vie moderne » des citoyens d’après-guerre. Dès les années 1960, un nouveau registre vient alimenter la création marocaine qui se tourne alors vers l’architecture vernaculaire maghrébine. Contribuant à alimenter les ambitions du Groupe des Architectes Modernes Marocains aux côtés de Jean-François Zévaco ou Michel Ecochard et de l’Atbat-Afrique, Azagury propose des alternatives formelles et structurelles intégrant aux formes les plus modernes des dispositifs empruntés à l’habitat traditionnel. Son œuvre participe en ce sens à la construction d’une identité méditerranéenne de la création moderne, faisant écho aux propositions de Roland Simounet en Algérie ou de l’Atelier de Montrouge dans le Sud de la France, dans le sillon des expériences corbuséennes de l’après-guerre.
Le cirque Flaminius dans la Rome des IIIe et IIe siècles av. J.-C.
Authors: Walther André
Published: June 2021

The Circus Flaminius in Rome of the Third and Second Centuries BC.

The Roman expansion in the Mediterranean in the third and second centuries BC and Rome’s rise as a major power in this region affected also the city herself which at that time was transformed in its function and appearance.

One of the places subject to intense transformation was the area of the circus Flaminius. It was an important site of social life in Rome where, apart from chariot racing, many religious and political activities took place.

This article focuses on the period from the late third to the late second century BC when the Roman ruling class occupied the area of the circus Flaminius by constructing new buildings and thereby also changing the character of this area. The socio-political dimensions of this place and its relevance for the city of Rome and their inhabitants form the centre of this analysis. The architectural structure of that area, its use by the contemporaries and its function as a symbolic system of the respublica Romana will be scrutinised in this article.