bluuebunny/crossref_metadata_2025_split huggingface dataset:
L’illustration d’un incunable parisien : les grands bois des Heures d’Antoine Caillaut
Authors: Delaunay Isabelle 
Published: June 2021

The illustration of a Parisian incunabular ; the large woodcuts of Antoine Caillaut’s Book of Hours.
The printed Book of Hours held at the French Bibliothèque nationale under the reference Rés. vélins 1643, bears the mark of Antoine Caillaut, a printer-publisher-bookseller active in Paris from 1482 to about 1505. The book was probably printed at the beginning of the year 1489. Some of the engravings in it are the work of Jean Du Pré, others of Antoine Caillaut. The author of the present article looks at the sixteen large woodcuts and identifies three engravers, A, B and C, who could be their authors. The aim of the article is to show the close links between these engravings and contemporary manuscript illuminations. Thus there is a close resemblance in the styles of engraver A (six plates) and the Master of the Coronation of Anne de Bretagne, who undoubtedly took the woodcuts as a model. There is a similar closeness between the works of the engravers B and C, and the Master of the Cardinal de Bourbon. The latter’s creations were perhaps the model for the engravers, unless it was the painter himself who actually designed the woodcuts.
Un pionnier du graphisme éditorial : Alexey Brodovitch
Authors: Cattaruzza Nathalie 
Published: June 2021

Alexey Brodovitch, a pioneer of magazine design.
Alexey Brodovitch is one of the leading figures in graphic design in the United States from 1930 on, helping give the role of artistic director its modern status. In 1934 he was invited by Carmel Snow to work on Harper’s Bazaar, where he introduced graphic innovations first developed in Europe.
In fashion photography, he encouraged a natural and spontaneous style in keeping with the dynamic image of the modern woman. In the lay-out of the magazine’s pages he was particularly attentive to the relationships between text and image, creating dynamic effects which are often close to those used in the cinema. He had the knack of finding the most gifted young artists of his day and under his direction the magazine not only published many young photographers later to become famous, but also served a showcase for modern European art. In 1950 and 1951 Brodovitch launched and directed Portfolio, a non-commercial review which gave his creativity free reign and became an inspiration for several generations of graphic artists. Through his own career and through his activities as a teacher, Brodovitch is clearly one of the most influential figures in the visual arts in the USA from 1945.
L’affiche publicitaire et le gurafikku dezain au Japon (1854-1960)
Authors: Gossot Anne 
Published: June 2021

Advertising posters and gurafikku dezain in Japan, 1854-1960.
The world of commercial advertising was already well organised in Japan by the middle of the nineteenth century. The printed commercial forms most frequently to be found are bills for plays and other spectacles, advertising posters and tracts. They have the same format and use the same techniques and colours as the xylographic print (nishiki e). At the same time authors and publishers of prints began to engage in commercial publicity, destined for a bourgeois public rather than a popular one. Such commercial prints lasted longer than the traditional nishiki e prints, surviving up to about 1910.
Lithography was introduced to Japan only in 1872, chromolithography and offset printing becoming more widespread from 1914. The Americans played a vital role in the introduction of these new techniques.
The author of the present article looks at the parallel development of other advertising forms, with the rapid growth of the newspaper press from 1870 and the appearance of advertising agencies in Tokyo and Osaka. The products concerned were generally of western origin, and the styles of the advertising images tended to follow western graphic styles. Techniques of lithographic printing, called « applied drawing », were taught at the Tokyo Fine Arts school from 1896.
From the 1920s, the poster gave rise to several aesthetic and social debates in Japan, whilst techniques improved thanks to the introduction of the HB process (colour photo-engraving). The author goes on to examine the principal events which mark the history of « artists’ posters » from 1925.
In 1926 the activity was sufficiently professionalised for an association of commercial artists to be formed. The inspiration was still primarily of western origin and commercial artists tried to find ways of giving their creations the same status as traditional, fine art works. The expressions « design » and « graphic design » began to appear in Japan during the 1950s.
Les dragons du Livre des étoiles fixes d’Abd al-Rahmân al-Sûfï
Authors: Caiozzo Anna 
Published: June 2021

The dragons in the Book of Fixed Stars by Abd al-Rahmân al-Sûfî.
The French National Library is in possession of a very beautiful astronomical manuscript, once the property of the Timourid prince Ulugh Beg, the grandson of Tîmûr. The manuscript dates from about 1430 to 1440 and comes from Central Asia.
It presents the constellations in the form of double miniatures, painted in pale hues. Some of these miniatures are particularly original and differ considerably from the earlier and more classical copies of Abd al-Rahmân al-Sûfî’s Book of Fixed Stars. The animals represented in the constellations of the Dragon, of Ophiuchus Serpentarius, of the Hydra or of the Whale are more akin to dragons than to traditional snakes.
The stylistic theme of the dragon seems to be have been specially appreciated as a decorative motif in the Timourid court. It is frequently found on various art objects coming from Central Asia and from Iran, some of these objects bearing the name of Prince Ulugh Beg. It is an ancient totemic symbol for Chinese and Uralo-Altaic peoples, but it also has an esoteric and astrological significance which the Prince Ulugh-Beg, as versed as he was in astronomy and astrology, was clearly aware of. It is the dragon of the ecliptic, the position of its « lunar nodes » being the determining astrological factor in the individual's destiny.
Les Palais Européens de l’empereur Qianlong et leurs sources italiennes
Authors: Droguet Vincent 
Published: June 2021

The European palaces of the Emperor Qianlong, and their Italian sources.
Built between 1747 and 1768, several European-style buildings were added to the summer palace of the Yuangmingyuan, the favourite residence of the Chinese Emperor Qianlong. Today these European buildings and their gardens are in a seriously dilapidated state, but old engravings and photographs still depict them in their former glory. Two Jesuits played an essential role in their design, Father Benoist for all the water works and Brother Giuseppe Castiglione from Milan (1688-1766) for the buildings themselves. It is possible to identify certain European sources for these remarkable works. In the gardens, the space is not organised around a principal building but is rather a succession of architectural, plant or hydraulic events. Several elements have analogies with certain motifs in the villas of post-classical Rome. Other similarities may be found with villas of Lombardy or Piedmont, such as the Venaria Reale, built by Amedeo da Castellamonte. The waterfall of the Haiyantang incorporated water effects similar to those of the villas of the Latium, whilst the table fountains of the Dashuifa evoke the thicket of the triumphal arch at Versailles. The labyrinth, the bosco and the open-air theatre are all inspired by Italian models, transmitted, notably, by the engravings of Falda and Dal Re ; the decorative ponds are inspired by French examples. Throughout this exceptional composition, Castiglione has masterfully given the Emperor a sort of secret garden, full of surprises, where the zig-zagging design helped acclimatise European models which had been imported to China and rethought there.
Antoine Wiertz à la conquête de Paris
Authors: Guédron Martial 
Published: June 2021

Antoine Wiertz comes to conquer Pans.
The enthusiasm of Belgian painters for the French capital began at the end of the eighteenth century, at the time of neo-classicism. Under the domination of the Dutch, and despite a pro-Dutch and pro-Germanic current, many Belgian painters turned to Paris as a city in which they could find ideas in keeping with their aspirations for liberty.
Antoine Wiertz stayed in Paris on several occasions, and this article examines what was at stake in these visits. As a Prix de Rome, in 1832, Wiertz was authorised to follow the courses of the young French painters who were prize-winners at the Villa Médicis, then under the direction of Ingres. At Rome, between 1834 and 1837, Wiertz painted his first version of The Greeks and the Trojans disputing the body of Patrocles (Museum of Liege). The author compares the preliminary studies and the first and second versions of this large composition (the second, dating from 1844-1845, is at the Wiertz Museum in Brussels). The first Patrocles had a favourable reception in Belgium, but the painter could not exhibit it at the Paris Salon of 1838. The work presented at the 1839 Salon was not well received by the French critics, even if it was praised again at the Brussels Salon of the same year. Wiertz developed a deep dislike of Paris, a far cry from his early enthusiasm, and went on to proclaim the equality of Belgian painting with French painting.
La contribution de Bernard Laffaille à l’architecture religieuse des années cinquante
Authors: Nogue Nicolas 
Published: June 2021

Bernard Laffaille’s contribution to religious architecture during the 1950s.
The engineer Bernard Laffaille (1900-1955) was a pioneer in the form of roofing known as hyperbolic parabaloid shells, commonly referred to as « horse saddles ». These were first used for train sheds. The architects Jean Le Couteur and Paul Herbe (1949-1953) adapted these forms for religious architecture in their church at Bizerta, as did Maurice Novarina for his church at Villeparisis (1954-1958) and Guillaume Gillet for Notre-Dame de Royan (1954-1958). These roofs were made of thin, bowed concrete shells, supported by V-shaped « shell columns ». After Laffaille’s death, Gillet used the same form for the church of Saints Crépin and Crépinien at Soissons. Le Couteur and Herbe also gave the bell-tower of Sacré-Cœur of Algiers the silhouette of a turning hyperboloid, inspired by the cooling towers of power stations, associated with V-shaped columns, known as Laffaille columns. Thus architectural forms first used by engineers for industrial constructions are used by architects from the Beaux-Arts school as a repertory of formal elements which may be freely associated. Through these plastic applications, these forms acquire a new, religious signification. Is it not a kind of new eclecticism ?
Les peintures décoratives d’Alphonse Osbert à Vichy (1900-1917)
Authors: Dumas Véronique 
Published: June 2021

The painter Osbert stayed at Vichy every year, and executed three mural paintings there.
The first (1900-1901) was in a private villa. This mural was subsequently broken up, but two pannels, Harmonie d’automne and Sérénité , featured in a public auction in 1985. They show how the painter was strongly influenced by Puvis de Chavannes and by the symbolist movement. In 1903-1904,
Osbert decorated the main hall of the Vichy watering establishment, showing a clearer sense of how the mural should adapt to architecture. In 1913-1917, the painter decorated the choir of the Saint-Louis church.
The iconography here is more traditional, close to the type of religious paintings done by the disciples of Ingres. Despite their differences, these three works allow for the identification of an Osbert style.
Un masque en terre cuite du XVIe siècle provenant du château de Wideville
Authors: Mehdipour Valérie 
Published: June 2021

A terra-cotta mask dating from the 16th century, originating from the Castle of Widewille.
The restoration of a terra-cotta mask, donated to the Louvre Museum in 1993, has made it possible to define its original setting and the techniques associated with its creation. The mask was part of a monumental fireplace in the Castle of Widewille (Yvelines) built ca. 1580, perhaps by the associates of Mathieu Jacquet. The coif (a hood topped by a plume) derives from a model by J. Androuet du Cerceau.
The face was produced in a press mould and the coif, in a multiple piece mould ; the two parts were joined together, fired and then glazed in black.
The layering of the polychromy was identified.
The various restorations that were carried out on the mask are, also, exhibited.
Atlantes et cariatides de Rodin pour deux immeubles bruxellois
Authors: Mary Guylaine 
Published: June 2021

Telamones and Caryatids by Rodin for Two Buildings in Brussels.
Between 1872 and 1874, Rodin, working in Brussels, created a décor consisting of one caryatid and two telamones for each of two buildings located, respectively, at 33-35 and 37-39 boulevard Anspach. These two buildings no longer exist. However, the original stucco figures from no. 37-39, as well as two series of copies cast in plaster, the caryatid and the two telamones, are today in the collection of the Musée Rodin in Meudon. There are two other series of these figures in Brussels and in Japan. Restorations were carried out on three telamones in the collection of the Musée Rodin (one in stucco ; the other two, in plaster).
A study of the technique used to make the original statues has confirmed that moulded stucco was used for these figures ; a technique rarely used for this type of monumental sculpture. The stucco was originally painted with a coloring that imitated stone ; it was then repainted several times before the statues were taken down in 1929. An examination of the two plaster telamones in the Musée Rodin showed that they had been cast, in 1929, in the moulds made in Brussels from the original stucco statues before they were taken down. All the plaster series were done from these moulds, and by the same atelier.
Le Salon annuel de la Société des amis des arts de Pau, quartier d’hiver des impressionnistes de 1876 à 1879
Authors: Le Cœur Marc 
Published: June 2021

Marc Le Cœur : The Annual Salon of the Society of the Friends of the Arts in Pau : Winter Quarters of the Impressionists from 1876 to 1879.
At the same time that their first collective exhibitions were held in Paris, Impressionist artists were invited to present their works at the exhibits of the Society of the Friends of the Arts in Pau from 1876 to 1879, at the initiative of Paul Lafond and Alphonse Cherfils, respectively secretary and vice-president of the Society. The most famous among these artists were Caillebotte, Degas, Morisot, Pissarro, Renoir and Sisley who were joined by a number of their colleagues and teachers. The paintings that were exhibited, several of which were among the chefs-d’œuvre of their authors (notably, Young Man at the Window by Caillebotte, The Orchestra by Degas and A June Morning by Pissarro) were given an indifferent welcome by the public ; and, despite favorable press reviews, they were rarely sold. However, in 1878, the Pau Museum acquired Degas’ celebrated Interior of a Cotton Office in New Orleans. At the end of the following year, after Lafond and Cherfils were repudiated by the public and forced to leave their positions, the exhibitions of these Impressionists ended. This article, based on criticism that appeared in the local press, relates the reception given to these singular exhibits that took place 600 miles from Paris.
Olivier Debré aux États-Unis, 1959-1963 : échec d’une réception
Authors: Chassey Eric de 
Published: June 2021

Éric de Chassey : Olivier Debré in the USA, 1959-1963 : A Failed Reception.
The history of the artistic relationships between Paris and New York in the nineteen-fifties has usually been viewed as though it were a territorial feud, biased by the power of the Americans or by the tradition of the French. This article summarizes the reasons why Olivier Debré, a French painter, distinguished by European critics for his supposed «american-ness », failed to be accepted by the American art world, after his works were introduced on the New York and Washington art markets, in 1959 and 1963. Placed in the context of the end of Abstract Expressionism and the failure of Abstract Impressionism to impose itself as a valid successor, the paintings of Debré seemed outdated. In fact, his art addressed several issues that had been resolved by the New York School ten years before and numerous formal strategies that had been discarded in the USA as trop français and old-fashioned. For the American art scene of the fifties, it was neither formalist enough, which would have placed it in the « post-painterly » trend, nor was its subject matter momentous enough. The negative reception that Debré ’s work received in the United States is significant in that it reflects an environment in which two different art scenes co-existed and, yet, were not truly contemporary — an environment that elicits further research.
La couleur dans la peinture grecque antique de Macédoine
Authors: Brécoulaki Hariclia 
Published: June 2021

Color in the Paintings of Macedonia during Greek Antiquity.
The study of Macedonian paintings of the 4th through the 2nd century b.c. provides the opportunity to understand many of the important characteristics of the paintings of Greek Antiquity and to examine the materials and pictorial techniques used by artists of that period. The funerary paintings of Macedonia were done on two types of supports : on the walls of tombs that were covered with a coat of plaster and marble slabs. The pigments that have been identified are predominately natural and artificial inorganic pigments and, more rarely, organic ones. The techniques used are : alia fresco, distemper, egg or Arabic gum. The monumental paintings of Verghina are painted in highly interesting styles and techniques that distinguish them from other Macedonian paintings of this period and confirm that they were painted in a local, decorative style.
Imiter l’arc-en-ciel : la règle des couleurs dans la Schedula diversarum artium de Théophile
Authors: Villela-Petit Inès 
Published: June 2021

Imitating the Rainbow : the Rules of Color in Theophilus’ Schedula diversarum artium.
The first book of the Schedula diversarum artium by Theophilus includes several chapters that relate to pictorial representation : people, drapery and landscapes. These form a coherent system, in which, on the colored surface, strokes of light and shadow are superimposed. And, while the manner in which drapery is worked is found in other classic medieval texts, the methods, as described by Theophilus, that were used to represent the volumes of the drapery is unique. Based on the metaphor of the rainbow, the volumes are established by the use of color, or more precisely, by the imitation of the juxtaposition of the graduation of colors that characterize the arch of the rainbow. A re-examination of Theophilus’ text and its range of meaning offers new ways of fusing illumination and wall painting, from the Carolingian period to that of Theophilus.
Images de l’idéologie royale khmère aux frontons du temple d’Īśvarapura (967 ap. J.-C.). Nouvelles hypothèses (I)
Authors: Alvares Sharon 
Published: June 2021

The Royal Iconographie Program of Isvarapura temple (ca. 969). Part I.
Built ca. 969, the well-known temple of Īśvarapura, dedicated to Śiva, is a masterpiece in its iconographie program devoted to kingship. The first part of this study discusses the identification of two pediments, placing them within the general sculptural program. The first, Durgā Mahisāspuramardani, unlike the Indian tradition, shows the devil buffalo, Mahisa, as he transforms into a man. The second, identified in 1929 as Indra’s rain, depicts, in fact, the fire of the Khândava forest as related in the Indian Adiparvan of the Mahâhhàrata, although it also refers to the Indonesian version of the Mahâhhàrata, composed in 10th century Java. Thus, while Durgā, placed in front of Śiva Tribhuvanarnesvara’s sanctuary, protects him, the significance of the Khandava’s fire appears to be the conquest of the world.
Qiu Ying ou la synthèse des traditions du paysage chinois en bleu et vert au XVIe siècle
Authors: Malenfer-Ortiz Valérie 
Published: June 2021

Qiu Ying - or the Synthesis of Green and Blue Landscapes during the 16th century.
This essay aims at highlighting a portion of the work of the Chinese painter Qiu Ying (ca. 1494-1552), who remains mysterious and often criticized for the decorative quality of his paintings, especially his « blue and green » style. Among the numerous paintings attributed to him, the « blue and green » scenes constitute a unique genre, from which the painter acquired a prestigious reputation but also many forgeries. A selection of a few « blue and green » landscapes of the highest quality allows us to sketch some characteristic traits of his artistic evolution. Qiu Ying exhibits a great diversity of techniques, integrating and interpreting over and over the past traditions of the Tang, Song, Yuan, and the early Ming Zhejiang and Wu Schools.
Qiu Ying represents a great moment in sixteenth-century art : his historical approach and his unprecedented technical expertise, allowed him to synthesize the main pictorial traditions and to offer a historical and aesthetic tour of Chinese painting to the most ambitious and wealthiest patrons of his time.
Les vitraux du XVIe siècle consacrés à la légende du « pendu-dépendu » : nouvelles informations iconographiques
Authors: Riviale Laurence 
Published: June 2021

Sixteenth century Stain Glass Windows Consecrated to the Legend of the « Miracle of the Fouls » : a new iconographic investigation.
A large number of 16th century stained glass windows still exist in France that illustrate the miracle of Saint James the Great, known as the legend of « Miracle of the Fouls ». Of the 13 windows that have been analyzed, only one, from the church of Cour-sur-Loire (Loir-Cher), ca. 1515, would appear to follow the version of Jacques de Voragine. The others are based on a popular variation that shows a servant taking revenge on a young pilgrim, who has offended him, by hiding a silver cup in the pilgrim’s personal belongings. The authenticity analysis of the glass of the window at Cour confirms the results of the iconographie analysis : the 19th century restorers were responsible for having made the window conform to the version of Jacques de Voragine. This window remains, nonetheless, unique, owing to one detail : the presence of an ornamental medallion with the figure of a Roman emperor, below which, is inscribed the name Raminagrobis . In an attempt to interweave the legend of the « the Miracle of the Fouls » and this name, the author will show that the episode of the Tiers-Livre of Rabelais, in which the poet Raminagrobis appears, would seem to allude to the miracle of Saint James the Great. Does the text of Rabelais, posterior to the glass (1515), appear to reveal an association between a Raminagrobis, the figure of an iniquitous and infidel judge, and the legend of « the Miracle of the Fouls » ?