bluuebunny/crossref_metadata_2025_split huggingface dataset:
Hans Bellmer : l’anagramme et l’estampe au service d’un rêve surréaliste
Authors: Flahutez Fabrice 
Published: June 2021

Fabrice Flahutez : Hans Bellmer : Anagram and print at the service of a surrealist dream.
The rich literature concerning Hans Bellmer’s photographs should not conceal the fact that his printing experience highlights the central point on which the whole approach of the artist is focused. : poetic anagram. The function of printing in the artist’s evolution is highly interesting. Besides, it is at the center of a research linked to technique. Thus the deliberate use of some specific techniques is a scrupulous choice on Bellmer’s part, so that the anagram can fully develop itself. They will be dealt with separately and what they added to the process of creation will be brought to light.
Mise en scène du livre en noir et blanc : Les Épiphanies de Henri Pichette, mise en page de Pierre Faucheux (1948)
Authors: Jaubert de Beaujeu Marie-Laure 
Published: June 2021

Marie-Laure Jaubert de Beaujeu : The theatrality of a black and white book : Pierre Faucheux ’s page layout for the Epiphanies of Henri Pichette
The question of the use of black and white has special implications in the field of book design. In 1948, Pierre Faucheux’s layout for the Epiphanies, a dramatic poem written a year before by Henri Pichette and published by K Editor, belongs to the tradition of visual poetry and proposes a theatrical book in which page design makes the most of typographic elements and the metaphoric power of the contrast between black and white. Considerations such as these are of particular importance in book design, given the key role played by this medium as a vehicle of the written word and the abstract exactitude of black an white. Their pertinence stems also from the construction of a space-time specific to reading -from the marks made by metal type to the screen used in the halftone blocks -which depends on the organization of the black and white elements and variations of typographical “colour”.
Les traités artistiques et la peinture sur pierre (XVIe-XVIIe siècles)
Authors: Collomb Anne-Laure 
Published: June 2021

Anne-Laure Collomb : Artistic treatises and painting on stone (1 6 th and 1 7th centuries).
Around 1530, Sebastiano del Piombo invents a new technique, painting on stones, which knew an important fashion in the 16 lh and 17th centuries. It answers the questions asked by the Paragone. Painting on stone has the advantage of lasting as long as sculpture. From the middle of the 16th century, new supports -alabaster, agata, marble and pietra paesina-are used in numerous experiments. The question of preservation comes second. From now on, the use of patterned stones goes with the taste for valiable curiosities and is linked with the Wunderkammern. Painting on marble and other patterned supports unites the genius of the artist and that of Nature. Nature can imitate Painting.
Le parti catholique et la peinture religieuse des années de « l’ordre moral » (1873-1879)
Authors: Amiot Emmanuelle 
Published: June 2021

Religious painting and Catholics in the “moral order” years (1873-1879).
Mac Mahon’s presidency (1873-1878) was a favorable period for religious painting, but also a disturbed political and religious time. While the State and town councils led a very active policy in favour of it, the Church persevered in its silence about what was being painted in churches. However, no truly religious painter was acknowledged by the Catholic art theorists. In spite of the obvious lack of orthodoxy, the priests did not protest. Even Catholic critics accepted with an open mind some experiments that theorists morally banished from the field of religious painting, in particular, naturalism and eclectism. Unexpectedly, this genre flourished at that time, outside strict orthodoxy and with the silent agreement of the clergy.
Kub, cube, cubisme : Picasso et Braque en 1912
Authors: Versari Maria Elena 
Published: June 2021

Kub, cube and cubism : Picasso and Braque in 1912.
This article follows the complete history of the term “cubism” in France, both among the critics and the popular press of the early 1900s. In particular, it analyses the latter’s ironic association of the modern artistic movement with the Swiss-German food company Maggi’s most famous product of the time -the bouillon cube. It then examines the reception of this popular pun by the two artists most commonly linked to cubism, Georges Braque and Pablo Picasso. Underscoring Braque’s and Picasso’s ironic integration of the term inside their works in 1912, the article maintains that these works should be read as a critical response to efforts by artists and critics of the time to create a definitely formal and conceptual codification of a “cubist aesthetics”.
Le Cézanne d’André Breton
Authors: Semmer Laure-Caroline 
Published: June 2021

Cézanne as seen by André Breton.
In the footstep of Dada and against cubism, surrealists, and particularly André Breton, take Cézanne as an example to condemn a unilateral vision of painting founded on classical views.
Cézanne being turned into a classical artist by critics in a specific political context, plus the claims of cubist artists, compelled Breton to go by his own artistic rules and to condemn Cézanne. But in the single example of a text devoted to Cézanne in 1937 in L'Amour fou he considers the specificity of reassessing Cezanne’s painting, in particular by using the concept of the “halo” so dear to himself. In this text, he gives way to a very personal view of Cezanne’s painting, but also to esthetic lines close to the surrealist questionings that, for militant reasons, he will stop developing.
Je ne cours plus depuis longtemps les galeries. Deux lettres d’André Chastel, une réponse de Jean Hélion
Authors: Chevrefils Desbiolles Yves 
Published: June 2021

Two letters from André Chastel with an answer from Jean Hélion.
The archives of painter Jean Hélion (1904-1987) kept in the Institut de la Mémoire contemporaine, are composed of several hundreds of letters, among them three letters exchanged with Art historian André Chastel (1912-1990) at the end of the seventies. Three letters ! Very little, indeed, between two personalities whose ideas and careers, far from the trends and ways of the period, could have, indeed, triggered a richer exchange. The careful reading of these letters, together with two short other texts from the beginning of the sixties, enables the writer to assess this epistolary rendez-vous that came too late.
L’ornementation primitive dans la Grammar of Ornament d’Owen Jones (1856)
Authors: Varela-Braga Ariane 
Published: June 2021

The Grammar of Ornament of Owen Jones (1856).
By starting his Grammar of Ornament with a chapter on primitive ornaments, Owen Jones shows a precocious attention to cultures whose productions were still considered as exotic items. However, this interest, exceptional for his time, still remains unknown. Jones urges European artists to look into the system of ornementation developed by these populations. Even if his vision of natives remains rooted in the tradition of the 18th century, he is the first to pay serious attention to ornaments of that type in so important a publication. Altough inspired by the theories of Semper, he sketches a theory of the origins of ornamentation beyond the influence of technics and materials, finding its justification in the will to adorn, which characterizes human nature.
Des projets inédits concernant les pompes funèbres du Grand Condé par Pierre Paul Sevin (1687)
Authors: Chantrenne Damien 
Published: June 2021

Unpublished drawings about the funerals of the Grand Condé by Pierre Paul Sevin (1687).
Conde died on December 11 1686. For this nationwide event, two designers, Jean I Berain and Pierre Paul Sevin, conceived drawings of projects for funeral ornaments at Notre-Dame of Paris and the Jesuit church Saint-Louis, under the leading of Father Ménestrier. Berain’s drawings were prefered to Sevin’s because of their classical inspiration, while Sevin, who had already worked with Menestrier long before 1686, faithfully rendered the latter’s notion of a decoration loaded with symbols and writing. However, Paul Sevin's designs, known from unpublished drawings, don’t mean any excessive dependance on Menestrier. The artist expresses his skill through very personal means, placing a staircase, for instance, in each mausoleum, a novelty at the time which completly changed the relationship between the corpse of the deceased and the congregation, thus serving the funeral service better.
Les maisons Grou : trois formes d’architecture civile à Nantes au XVIIIe siècle
Authors: Marquez-Gomez Maria del Carmen 
Published: June 2021

The Grou Estate : three kinds of civil architecture in 18th century Nantes.
Kept in the public record offices in Loire-Atlantique, the sharing out of the estate of widow Grou, the wife of Guillaume Grou, a ship-owner and merchant in 18th century Nantes, represents a precise documentary source about the landed property of an upper middle class person. Indeed, it includes the detailed description of the five houses for renting which belonged to him, one of which being his own town house, on Feydeau Island. These houses, -all close to the commercial port, on the bank of the river Loire were meant to be rented for residential or professional purposes. The study of this group of houses enables us to follow the evolution of the Nantes cityscape, which tends, on one hand, to uniformize façades and create a whole and, on the other hand, to improve the laving out of apartments. Besides, the study of the drawing of Guillaume Grou’s estate and of his country house leads to establish that the profits from trading were often invested in the purchase of country houses around Nantes.
Les péripéties d’un inachèvement : l’église Saint-Louis des Chartrons à Bordeaux
Authors: Leulier Renée 
Published: June 2021

An eventful incomplation : Saint-Louis des Chartrons’ church in Bordeaux.
The Bordeaux suburb of Les Chartrons was separated from the town by Château Trompette and its glacis. Building a parish church was a lasting concern of the archbishop and the project was taken up again in 1749, and was supported by intendant Tourny ; the latter asked architect André Portier, a pupil of Jacques V Gabriel, for grand plans of the church which had to be integrated in a vast urban scheme. The latent conflict between the intendant and the councillors, the premature death of Tourny junior, the intendant of Guyenne, the marshy nature of the ground and the high cost of such a project led to the church being left incomplete. This failure is also due to the fact that the building bore the stamp of the taste and practices of religious architecture of the years 1720-1740 then rejected by the advocates of a new “ greco-gothic ” ideal.
Un modèle de retable de Jean Barbet pour l’église paroissiale Saint-Geniès d’Avignon
Authors: Banel Nathalie 
Published: June 2021

An alterpiece pattern after Jean Barbet for Saint-Geniès’s church in Avignon.
In 1643, an estimate for a new altarpiece in the parish church Saint-Geniès’s in Avignon was signed, in which it was stated that the the artist would have to use as a pattern a plate in the famous book by Jean Barbet, Livre d’Architecture, d Autels et de Cheminées, first published in Paris in 1633. Art history offers few opportunities to testify to the references used by artists. Saint-Geniès’s case is all the more remarkable as it concerns a Parisian pattern to be used in a town which was still a papal property immersed in Italian culture. Several hypotheses are put forward : François Royers de La Valfenière, the architect of the church, might have provided Barbet’s pattern, or, and that’s more likely, the patron, an Avignon nobleman, might have wanted to follow the Paris fashion.
Maiestas. Rome et la puissance des images
Authors: Gilles Sauron 
Published: June 2021

Majestas : Rome and the power of images.
On the pretext of making the goddess Minerva and the mortal Arachne meet for a competition about the most beautiful tapestry, Ovid, in the 6th book of his Metamorphoses, opposes two aesthetics : on one hand, that of majesty (majestas) meaning hierarchy used, according to him by the Augustan power in the attempt to renew public art in Rome and the provinces, and, on the other hand, realistic aesthetics (ueritas) presented by him as a means of demystifying the powerful. Besides, at the beginning of the 5th book of his Fasti, Ovid presents Minerva as a goddess answerable “sine ui” for Jupiter’s fearful sceptre.
This awareness the Rome aristocracy had of the power of images, after P. Zanker’s happy wording, brought about a number of creations — especially in the crucial period of the end of the Republic and the institution of the Empire — , to which much research has been devoted in the course of the last decades.
Le renouveau des représentations mythologiques dans la propagande impériale de Trajan à Septime Sévère : l’exemple de la Gigantomachie
Authors: Nafti-Martin Amel 
Published: June 2021

The renewal of mythological representations in Imperial propaganda from Trajanus to Septimius Severius : the example of Gigantomachy.
The use of the mythological representation of the fight between The Giants and the Olympians acquires renewed favour in the Roman Imperial days. From the sources, Trajan is likely to be responsible for it. Gigantomachy seems to counterbalance the historical relief : the fable acts as an allegory of the civilizing and transcendental Imperial victory. This topic of hellenistic origin spreads through microasiatic models, notably inspired by the frieze of the Great Altar of Pergamon. Gigantomachy meets with a real success in Minor Asia because of the Hellenistic heritage from the romanized cities, as well as in Gaul because of the merging of the myth with the local cult of Jupiter Taranis, to whom the Emperor was associated.
Pierre-Joseph Pezerat. Architecte français à la Cour impériale du Brésil (1825-1831)
Authors: Gonçalves-Machado Marco-Antonio 
Published: June 2021

Pierre-Joseph Pezerat, a French architect at the Brazil Imperial court (1825-1831)
This study deals with the realizations in Rio de Janeiro of the architect Pierre-Joseph Pezerat (1801-1872) and with the role he played in the context of the strengthening of Brazil’s independence, during the period called the “Primeiro Reinado” (the first Empire) between 1822 and 1831. The architect’s arrival in Brazil is part of a number of scientific and military missions, which were meant to “civilize”. That raises the question of the way the new Brazilian elite was recruted in Europe by the Imperial House, on one hand, and, on the other hand, that of the French stylistic influence on 19th century Brazilian architecture. We wish to show to what extent art history can and should be taken into account as an enlightening element in the history of Brazil and, more precisely, of the exchanges between France and Brazil. Our approach combines an analysis specific to art history and a study of historical sociology.
Figures de l’alliance franco-russe : tableaux de marines autour de 1900
Authors: Zeisler Wilfried 
Published: June 2021

Representations of the Franco-Russian Alliance : Paintings of seascapes around 1900.
The Franco-Russian Alliance, the outcome of an old tradition of exchanges, led to several official visits from 1891 on. As it was clearly linked with the maritime history, the alliance was often representated by French and Russian navy painters such as Chigot, Couturier, Bogoliubov, Gtritsenko and Tkatchenko who, being often trained seamen, depicted the main visits they witnessed : that of the Mediterranean Sea Russian squadron in Toulon in 1893, Nicolas II’s visit in 1896 and Félix Faure's visit to Cronstadt in 1897. Whether they caught precise moments of the encounter or set forth a more general vision, these representations testify to a time when people believed in the promises of the alliance : peace, prosperity and power. Some works of art were bought or ordered by the State to become official presents, such as the paintings offered in 1896 by Russia to the towns and institutions that had welcomed its seamen in 1893. Although they are seldom on show, these works are original in that they are in keeping with a Russian fad which swept through France at the end of the 19th century.
Veut-on en finir avec les Monuments historiques ? Un point de vue
Authors: Monnier Gérard 
Published: June 2021

A end to Historical Monuments ? .
The decisions made since the 1980’s about preserving historical monuments have strong consequences, both on the content and the procedures. First on the content, because the intellectual and scientific approach has led to substituting new criterions to those justifying the preservation of the buildings of the past “in the name of art and history”. On the procedures, because the technical and politic choices had brought the decision closer to the reality and made room for new actors. In order to carry out its regalian mission, the State administration has met with great difficulties about the recent heritage ; several 20th century masterpieces are in a pitiful state and town councils, egged on by local societies, have asserted their ability to take charge. Today, the question of the devolution of preservationd has come to a turning-point, with the decision of the government to transfer the ownership of many listed monuments to local authorities. The aim of this paper is to analyse these innovations, to show that the changes in the content and procedures interact with one another and bring about a metamorphosis of preservation. The consequences will be asssessed : do the answers to these new questions lead to firm and lasting solutions or, on the reverse, do they raise dynamic and unexpected problems ?
Une utopie du vingtième siècle : le château de Villandry et La Demeure historique (1923-1937)
Authors: Gourbin Patrice 
Published: June 2021

A 20h century Utopia : Villandry and La Demeure historique (1924-1957).
At the beginning of the 20th century, Joachim Carvallo restored Villandry Castle and its gardens which, according to him, reflected the ideal natural social order. In 1924, the same Carvallo created La Demeure historique, a society of private owners of historical monuments. In order to defend these historical dwellings, their purpose was to find financial solutions to maintain their integrity and also promote, thanks to the example of French castles, lineage, authority and hierarchy. Under German occupation, the society assumed Vichy’s government would support its wish to become the exclusive service in charge of private monuments. But the opposition of the service des Mouments historiques did not allow the creation of the global status claimed by the society. After the Liberation, solutions to make room for the castle in the modern world depended on the laws of the market and not on the moral contract passed between the owner and the nation that Joachim Carvallo had dreamed of.
Les premières années de l’École du Louvre, 1882-1914
Authors: Picot-Bocquillon Sophie 
Published: June 2021

The first years of the École du Louvre (1882-1914).
In 1882, the École du Louvre opened its doors to an handfull of students wishing to study specific archeological points and ancient languages. A few years later, in spite of the reserves of the director, History of Art was part of the programme of the school. These changes led to a more varied and numerous public : they found a real pleasure in lessons illustrated with slides, in lectures where plasters went from hand to hand and in activities organized in the museums by the curators. However, the aim of the school was, through practical teaching, to train museum professionals. This ambition was not satisfied, so narrow were the openings. The school had to rely on a disinterested public to establish its originality and strenghten its position in spite of a certain lack of coherence in the definition of its programmes and missions.
La Céramique. La redécouverte d’un vitrail de l’Exposition universelle de 1878 au musée des Monuments français
Authors: Baguelin Isabelle 
Published: June 2021

La Céramique : the rediscovery of a stained glass of the Universal Exhibition of 1878 at the musée des Monuments français.
The stained glass window picturing La Céramique belonged to a programme related to industrial arts decorating the Palais du Trocadéro during the Universal Exhibition of 1878. The deal was with L. Ch. A Steinheil who drew the cartoons and contracted out the execution of the yvork to Charles Leprévost and the stained glass painting to Louis Bonnot. As a tribute from Steinheil to his friend Theodor Deck, the stained glass celebrated artistic craftmanship, here the pottery, and French artistic production ; besides the style of the work announces the new formulas of Art nouveau and the development of domestic stained glass in France. Rescued from destruction when the first Palais du Trocadéro was pulled down in 1937 and rediscovered in 1997, this work must be restored and displayed in the future Cité de l’architecture et du patrimoine in Paris.
Les musées et la sculpture française des XVIe et XVIIe siècles : une nouvelle approche
Authors: Bresc-Bautier Geneviève 
Published: June 2021

Museums and French 16th and 17th century sculpture : a new approach.
This article deals with the relative inferiority in which sculpture from the Middle-Ages to the 19th century is kept in museum institutions. Rarely shown for their own sake, the collections are more often than not split up and exhibited either with other artefacts or else in rooms devoted mainly to painting. Many works, sometimes in poor condition, remain in sto¬ rage, uncatalogued. The author notes that progress has been made, however, over the last twenty years in the Louvre, in Ecouen and in many other regional museums. To obtain a new and better “visibility” of sculpture, a policy of more frequent restoration is necessary, as is a deeper study of the works, not only in show but also in storage : this would lead to the editing of proper scientific catalogues and, finally to a more attractive presentation, especially on the occasion of specific exhibitions, still too few and far between.
Une enquête de l’Institut national d’histoire de l’art : les peintures italiennes des collections publiques françaises
Authors: Laclotte Michel 
Published: June 2021

An Inquiry of the National Institute of Art History : italian paintings on french public collections.
The importance, richness and the variety of italian paintings, which are maintained in France, are well recognized. The National Institute of Art History has launched in 2001 a challenging task to develop an inventory and create an index list, as complete as possible, of these resources. It consists, either for known or unknown paintings, to relate how all partners, collectors and also curators put these paintings in their ultimate conservation place : museum, church or other institution. After an elaborate and large survey of many several institutions, this index is made by the combination of data coming from professors, researchers, and museum staff. However, some questions still subsist about the paintings included in the index : which are the criteria of selection for choosing a picture or another, even though it is a copy or a mediocre painting ? And which kind of data base we must elaborate : composed with descriptive forms, historical and bibliographical informations, should they be on access on web line ? Responses can come only from a collaborative project among art historians, professors, researchers and fellows of the National Institute of Art History.