bluuebunny/crossref_metadata_2025_split huggingface dataset:
À la recherche d’une architecture nationale en Corée du Sud : Kim Sugun (1931-1986) et le groupe Espace (Konggan)
Authors: Delissen Alain 
Published: June 2021

In Search of a National Architecture : Kim Sugtin (1931-1986) and the group « Space » (Konggan ).
The written history of contemporary architecture in Asia is not particularly satisfying, especially when it deals with research on how this architecture attempts to express the national identity. This article will attempt to go beyond the juxtaposition between tradition and modernism which dominates the debate that is reduced to visual citations, using a South Korean example. The architect, Kim Sugifn (1931-1986), and the cultural group that the founded and baptized « Space » (Konggan) have approached the question of national identity from two points of view. An architectural analysis of the group’s center shows how the references that animate the analysis may be ambivalent in the complexity of the genealogy of architecture.
An analysis of written architectural texts offers a better understanding of why the reference to Korean architecture occurred within a society that was abused by 20th century history and which ignored architecture as art.
Images de l’idéologie royale khmère aux frontons du temple d’Īśvarapura (967 ap. J.-C.). Nouvelles hypothèses (II)
Authors: Alvares Sharon 
Published: June 2021

Images of the royal khmer ideology on Isvarapura temple ’s pediments (967 A.D.). New interpretations (II).
The first part of this research appeared in our previous issue. Here the decoration of the third enclosure of Isvarapura temple is examined. Different themes taken from the Mahabharata and Ramayana epics are presented : the duels of Bhima with Duryodhana, and of Valin with Sugriva ; the abduction of Tillotama and the abduction of Sita. These episodes are closely linked by a common set of themes connected with the royal legitimacy. The duels give an opportunity of stating the rules of conduct for the kings according to the rajadharma. Thus, together with the temple’s epigraphy, the whole collection of images in the program of Isvarapura temple exalt the royal personality in the exercise of its various duties. Indeed, although the temple was placed under the authority of Yajnavarah, a chaplain, it really is a royal foundation under the patronage of king Rajendravarman.
Lucienne Florentin ou les ambivalences d’une critique d’art en Suisse romande
Authors: Pallini Stéphanie 
Published: June 2021

Lucienne Florentin, art critic in french-speaking Switzerland.
Since the beginning of her career as an art critic in french-speaking Switzerland, Lucienne Florentin was, from 1910 to 1940, set against the modern french artistic trends (e. g. cubism, dadaism, surrealism) , thus seeking to undermine Paris artistic supremacy. She also rejected the Stijl movement, Kandinsky, and the Bauhaus. On the other hand, she stood up for Alexandre Blanchet, the artist, and the French-speaking swiss painters, nurtured on traditions. She was also a fervent defender of « Young Italy »’s fascist painting.
In contact with Alberto Satoris, she took up architecture and decorative art criticism. She then demonstrated a great open-mindedness in choosing to advocate Le Corbusier and in siding with the theories of L’Esprit Nouveau.
During the years of crisis, Lucienne Florentin reverted to her positions in favour of a modern classicism. All things considered, her criticism is characterized by a deep ambivalence.
L’imaginaire scientifique du surréalisme : Max Ernst, les objets mathématiques et la géométrie non euclidienne
Authors: Fortuné Isabelle 
Published: June 2021

Surrealism’s scientific imagery : Max Ernst, mathematical objects and non-euclidean geometry.
The surrealists’ interest in the various scientific fields through the theories of the images they generate, arose in the first years of their movement and never failed even up to the post-war period, evolving according to the rediscovery of scientific theories or objects. Max Ernst’s work is particularly representative of science’s appeal in the surrealist milieu. It recurrently appears in various shapes with this artist : diagrams and mathematic equations, rulers and callipers, figures either geometrical or born of cellular biology, cosmological visions... During the thirties, the appropriation of the theories of non-euclidean geometry dominates surrealism’s scientific imagery, together with the rediscovery of mathematical objects. These scientific models, translating mathematical equations in three dimensions, are known through Man Ray’s photographs, and appeared in several surrealist exhibitions. Max Ernst also participated in this collective fancy, by incorporating mathematical objects in his collages and by proposing his personal reading of the theories of non-euclidean geometry.
L’Epitome des roys de France (Lyon, 1546) : un nouveau mode d’illustration
Authors: Leutrat Estelle 
Published: June 2021

The Epitome des roys de France (Lyons, 1546) : a new kind of illustration.
The Epitome des roys de France was published in Lyons, in 1546, by Balthazar Arnoullet. It consists in a summary of the lives of the fifty-eight first French sovereigns, accompanied by their effigies in the shape of engraved oval medallions. These are ascribed to the anonymous engraver working in Lyons around 1550 : the Maître CC.
The Epitome des roys de France provides perfect evidence for the evolution of illustrated books in France in the middle of the 16th century, wavering between tradition — as regards illuminated portraits such as those appearing in the various genealogies and universal chronicles — and innovation, especially with the clarity of their lay out as well as with the preference for copperplate rather than wood engraving. This work also allows for an interrogation about the notion of likenesses in the 16th century. The anonymous author of the Epitome indeed maintains that all the Kings portraits are depicted « as true as possible to nature ». At the time, such intentions are frequent, as for instance with Vasari ; nevertheless, be it with one author or the other, iconography and portrait merge together, and the alleged likeness proves to be hypothetical.
Du choléra morbus et de ses représentations dans la peinture du XIXe siècle
Authors: Opinel Annick 
Published: June 2021

The Cholera Epidemic as depicted in French paintings of the 19th century.
This article deals with paintings depicting the cholera epidemic in France in the 19th century, as well as with the pathology and the victims’ visible symptoms. Beyond this semiological report, some paintings clearly show or imply how prestigious medicine was during the dramatic 1832 cholera epidemic in Paris. To the courage of the medical profession may be substituted or joined that of the government. It is, therefore, their ability to react or to sympathize that is to be demonstrated : it was often clearly a political challenge. The epidemic is, also, a continuous theme in medical painting which follows the events step by step. In the case of the cholera epidemic, it is, essentially, the painting of events that bears witness to a national disease, a territorial disaster.
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.
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.