bluuebunny/crossref_metadata_2025_split huggingface dataset:
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 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.
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.
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.
Ismaïlia : l’invention d’un paysage urbain au cœur de l’Isthme de Suez (Égypte)
Authors: Frémaux Céline 
Published: June 2021

Ismailia : Inventing An urban Landscape in the Heart of the Isthmus of Suez (Egypt).
Once the concession of the Isthmus of Suez had been granted by Mohamed Said, Viceroy of Egypt, in 1854, the Suez Maritime Canal Universal Company had not only to dig the waterway but also to settle alongside the canal three towns which would concentrate industrial buildings, port facilities, employees’ dwellings and administrative buildings.
Ismailia, established in 1862 at mid length of the canal, between Port Said and Suez, was to be the future capital of the Isthmus. In the heart of the desert, the town, planned ex nihilo, had to offer all the decisive qualities to the maintaining, in a hostile environment, of the numerous European employees.
French engineers and architects, involved in the planning of the town, invented, in Egypt, an urban landscape “à la française”. The regular and geometrical plan, the wide streets, the buildings, parks and “plantations” create, still nowadays, an urban landscape unique in the entire country. The study of the birth and growth of Ismailia addresses problems of diffusion vectors and transfer modalities from North to South of the Mediterranean at the time of Imperialism.