bluuebunny/crossref_metadata_2025_split huggingface dataset:
L’art contemporain dans Les Temps modernes de 1945 à 1954
Authors: Lemasson Érik 
Published: June 2021

A place for aesthetic debate : Les temps modernes, from 1945 to 1954.
The author of this article studies the writings on contemporary art that appeared in the review Les temps modernes from the date of its foundation by Jean-Paul Sartre, up to the crisis of the early ’50s. These articles are signed notably by André Masson, Georges Limbour, Kahnweiler, and Sartre himself. He is particularly attentive to the debates sparked off by socialist realism, and to the positions taken up with regards to abstract art and surrealism. The article is accompanied by a list of the collaborators writing for the review on artistic subjects, along with the titles of their contributions.
L’art abstrait à Bordeaux : art et théorie dans l’œuvre de J.-M. Gay
Authors: Saumier Thierry 
Published: June 2021

Abstract art in Bordeaux : art and theory in J.-M. Gay ’s work.
Jean-Maurice Gay (1899-1961) was a dental surgeon who taught at the faculty of dentistry of Bordeaux.
He was also a painter who has left us an opus of considerable importance. He was a convinced partisan of geometric abstraction and, in a publication dating from 1954, L ’origine de l’œuvre, du figuratif à l’abstrait, he elaborated a theory which sought to justify form in terms of psycho-physiological considerations. He was a member of the « Salon des réalités nouvelles » and president of the Bordeaux « Artistes indépendants ». He went on to become the leading figure in a group of abstract painters, playing a decisive role in the popularization of modern art in Bordeaux. The exhibition he organized in 1948 included works by S. Delaunay, Kupka, Magnelli, Hartung, etc.
Claude Aimé Chenavard, décorateur et ornemaniste
Authors: Calvignac Marie-Hélène 
Published: June 2021

Claude-Aimé Chenavard (1794-1838) : decorator and ornementalist.
Although he is largely forgotten today, during his lifetime Claude-Aimé Chenavard enjoyed an exceptional reputation as a designer of ornaments for industry, a profession which foreshadows that of our contemporary designers, and one which Chenavard helped create. He was born at Lyons, the son of a manufacturer of furnishing fabrics (his family is in no way related to those of the painter Paul Chenavard or the architect Antoine-Marie Chenavard).
Our Chenavard trained in his father’s firm before going on to industrial design and to the propagation of industrial art in general. He was particularly keen to revive the art of the French Renaissance and two of his most important creations bear witness to this desire : a stained-glass window dedicated to the inventions of the Renaissance period, made in the stained-glass workshop which Brongniart had recently founded at the Manufacture of Sèvres, and, secondly, the « Grand Vase de la Renaissance », also made at Sèvres.
Chenavard was also inspired by other styles, however, and may be seen as an important precursor of eclecticism.
Saint Augustin et les spectacles de l’amphithéâtre en Afrique romaine
Authors: Hugoniot Christophe 
Published: June 2021

Saint Augustine and the spectacles in the amphitheatres of Roman Africa.
Thanks to inscriptions and mosaics, we know that hunts were the principal type of spectacle staged in the African amphitheatres of the Byzantine Empire. Saint Augustine never specifically refers to gladiator fights in Africa. In one of his sermons he condemns the organizers of these spectacles. Instead of giving their money to the poor, they dress the hunters in the arena in sumptuous costumes. This in no way diminished the popularity of the events. This text, along with an inscription on the Smirat mosaic, is proof of the permanence, during the Byzantine Empire, of popular pressures on the municipal notables. Two other documents, illustrating the luxurious garments being given to the hunters, justify Saint Augustine’s criticisms of the wastefulness resulting from the persistence of municipal « évergétisme » (benevolence).
Théâtres anciens et patrimoine : l’exemple du théâtre de Douai
Authors: Boucher Thierry G. 
Published: June 2021

Old theatres and heritage : the example of Douai.
From the eighteenth century up to the restoration work commenced in 1983, the different stages in the evolution of the theatre at Douai show that it is sometimes difficult to reconcile aesthetic taste with practiced necessities in buildings designed for spectacles. The Douai theatre was built between 1783 and 1785 in a restricted urban setting. The architect nonetheless managed to create a theatre for more than 1 ,500 spectators. In 1810 the theatre was public property and integrated into the reorganization of the system of theatres decided on by Napoleon. On two separate occasions, twenty years apart, the painter Ciceri had the job of carrying out necessary repair work on the decors. Between 1843 and 1845 the repairs concerned the heating, the entrances and the lighting of the theatre, that is to say several practical aspects of the building’s use. Other modifications were carried out up to 1914, including the installation of a screen for advertisements visible prior to every performance. The theatre was practically in ruins at the end of the First World War and required a complete restoration. The stock of decors was entirely reconstituted by the painter from Douai, Maurice Rougerol. At the same time the building acquired recognition as an emblem in the town. Its continued use for over two hundred years shows how indispensable it has become. It now belongs to the category of the artistic heritage as well as to the heritage of use. The author concludes that it is of the greatest urgency to give this building statutory protection.
L’éclairage au théâtre
Authors: Thaon Bernard 
Published: June 2021

Lighting in the theatre.
The technical history of lighting in its relations to architecture remains to be written. But from an aesthetic point of view the evolution of lighting design in the theatre has already been studied, particularly from the time when electricity appeared, with its new possibilities of giving light an active role. In the present article, the author concentrates on two particularly significant moments in the theory and practice of theatrical lighting. The first is the publication of Patte’s Essai sur l’architecture théâtrale, in 1782, and the second the fitting out of Garnier’s opera house in Paris, from 1860. Faced with the problems caused by the use of candles and oil lamps, Patte recommended the use of reflecting mirrors. Their power to modify street lighting had already been demonstrated by Lavoisier. At the same time, the eighteenth-century study of Italian theatres (that of Palladio at Vicenza) and of classical models (Vitruvius), led to a feeling that something was wrong with the theatres of France. The choreographer Noverre, and Cochin, also put forward propositions which called into question the status of the proscenium and raised the problem of stage illusions. For Patte, the use of reflecting mirrors was a means of preserving the illusion by increasing the distance between the actors on stage and the audience, whilst at the same time reducing fire risks. In designing his opera house in Paris, Charles Gamier also tried to reform not only theatrical architecture but also theatrical lighting. Discussions were held on the idea of suppressing the footlights and the central chandelier. The latter was characteristic of the period’s habits of sociability : left alight, it allowed all the members of the audience to be seen. The debates of the time also turned around the comparative advantages of gas or electric lighting. Prior to the 1880s, electric lighting was not capable of variation, but its use at least allowed the chandelier to be raised. The author concludes by remarking that the history of lighting is linked to that of the social and scientific imagination.
Phintias, peintre de coupes
Authors: Pécasse Marianne 
Published: June 2021

Phintias, cup painter.
The eight cups by Phintias which are known today date from between 520 and 500 B.C., covering the whole of his career as vase painter. They allow us to redefine his artistic personality and his role in the group of « Pioneers » in the techniques of red-figure painting. His activity is more varied than was traditionally thought, and he seems to have been in close relations with another painter of cups, Epictetos.
Les appartements des bains de François Ier à Fontainebleau
Authors: Eschenfelder Chantal 
Published: June 2021

The bath apartments of François I at Fontainebleau.
The present article is a new analysis of the bath apartments of François I at Fontainebleau, created around 1543 and destroyed in 1697. If the sources speak of six rooms, described form the East, the present restitution shows in fact that there was a sequence of seven rooms, from a forgotten vestibule at the East to the stove at the West. The author underlines the remarkable nature of these baths, as different from little Italian stufe as they are from nordic baths. Displaying here his most exceptional paintings and mythological mural decorations, François I wanted to renew the Roman thermes, and to emulate Charles V’s mauresque baths in the Granada Alhambra, the only European bath apartments of a comparable scale.
Les origines des premiers parcs de divertissements parisiens
Authors: Langlois Gilles-Antoine 
Published: June 2021

The origins of the first public amusement parks in Paris.
The earliest public amusement parks in Paris date back to the second half of the eighteenth century. During the reign of Louis XV, Torré’s « vauxhall » and Ruggieri’s « garden » were opened, followed, under the Directory, by the famous Tivoli. This last was transformed into a « garden-spectacle » twenty-five years later. Such gardens were a complete novelty, and their origins are not well known. The present article sets out to study some aspects of their birth and development. The Torré venture, for example, turns out to have been as much a theatre as a garden, whilst Ruggieri’s garden (« enclos ») was primarily a place for promenades, featuring spectacles of enormous variety.
Tivoli, finally, was an « eclectic » garden, launched around 1770. The article’s description of this garden is based on notarial sources which give details on the various decors. Their architecture was of neo-classical inspiration, and a landscape « collage » integrated « French », « Italian » and « English » elements. These singular places have all disappeared today, but they represent the beginnings of a new form of organised amusement for the general public which thrives today in many amusements parks and leisure centres.
Rus-pa’i-rgyan : parures rituelles tibétaines en os humain
Authors: Estournel Jean-Luc 
Published: June 2021

«Pus-pa’i-rgyan », ritual Tibetan accessories made of human bone.
Ritual Tibetan clothing accessories made of human bone have hitherto been seen as objects of curiosity for collectors, and have not been studied synthetically. According to tradition and to certain texts, they appeared in India around the eighth to ninth centuries. They comprise six yoga-related ornamental elements and a sceptre, the kha-tvam-ga. All of these objects which we know today show a wide variety of styles. The iconographical and structural analysis of the apron-like accessory allows us to divide them into three main categories : garland-like aprons and four or three-cornered ones. The study of their styles shows that they were decisively influenced by lamaist art of the thirteenth to sixteenth centuries.
The gradual disappearance of workshops of production led to the degenerescence of the works produced from the nineteenth century on. Several paintings and miniatures in initiatory manuscripts bear witness to the close links between these ornaments and tantric rites. Their structural and monographical analysis makes their initiatory function apparent : these objects may be considered as mandalas.
L’iconographie du Purgatoire dans les manuscrits liturgiques du XIIIe au XVe siècle
Authors: Virgitti François 
Published: June 2021

The iconography of purgatory in liturgical manuscripts between the thirteenth and fifteenth centuries.
Purgatory was invented by Parisian theologians. The researches of J. Le Goff allow us to date this invention from the turn of the twelfth century. It is interesting to follow the emergence of the imagery of purgatory through about twenty examples of liturgical manuscripts, dating from the end of the thirteenth century up to the early fifteenth century (the list of the illuminated manuscripts comprising the study corpus is appended to this article).
The invention of purgatory during the twelfth and thirteenth centuries suggests the increasing importance of the individual dimension of salvation, and opens up a third possible alternative in the after-life. It is an invention which sets forth a place and a space which refute an earlier liturgical dualism, which had only allowed for judgment, followed by heaven or hell. The appearance of the image of the purifying fire in these liturgical manuscripts was encouraged by the development, since the fifth century, of the cult of the dead in the canon of the Mass. However, most of the images identified in the early iconography of purgatory are associated with texts that make no reference to a purifying fire after death. The image functions in an active manner, in order to guide the reading of the text. It pedagogical role is clear when the fire of purgatory is associated with the vision of God (known as the « beatific vision »).
The image-makers of the Middle Ages had to invent the space and the place of purgatory, these details being left uncertain by the theologians. In these representations, the author of the present article has identified four main strands. He also underlines the image of the souls themselves : their attitude of prayer, for examples, suggests an identification between the living (the owner of the manuscript) and the dead. The belief in the beatific vision and in the opening of purgatory towards heaven both reinforce the belief in an individual salvation.
Jean Démosthène Dugoure et le dessin d’histoire dans la seconde moitié du XVIIIe siècle
Authors: Belhaouari Luis 
Published: June 2021

Jean Démosthène Dugoure and historical drawing during the second half of the eighteenth century.
Today, Jean Démosthène Dugoure (1749-1825) is best known for his activities as a decorator. But he is also the author of three drawings of historical subjects, undertaken between 1775 and 1777, and held today by the Ecole nationale supérieure des beaux-arts (donation Mathias Polakovits). These compositions, entitled, Le souper d’Henri IV à Coutras, Léonard de Vinci mourant dans les bras de François Ier, and L’hommage rendu au maréchal de Catinat après la victoire de la Marsaille, date from before the earliest paintings based on themes drawn from French national history, paintings inspired by the cultural instructions given by the comte d’Angiviller : works such as Les honneurs funèbres rendus à Du Guesclin, by Nicolas Guy Brenet (1777). Dugoure’s works show a greater attachment to historical authenticity than do those of Ménageot, and depict episodes which evoke useful, edifying and moralistic values. Unlike « troubadour » painting, which is on the lookout for emotional and touching scenes, Dugoure’s « anecdotal » art wants to be improving. The heroes he exalts are all models of humanity, of which various writings of the years 1760 to 1770 had already underlined the exemplarity. Dugoure’s case is probably not an isolated one. It is necessary to show greater attention to the historical drawings of the late eighteenth century. They are one of the richest means of expression for iconographical innovation.
Bernard Benezet et l’iconographie du Sacré-Cœur au XIXe siècle
Authors: Mange Christian 
Published: June 2021

Bernard Benezet and the iconography of the Sacred Heart during the nineteenth century.
The origins of the cult of the Sacred Heart of Jesus go back to the thirteenth century, but this cult was strongly reactivated by the visions of Marguerite-Marie Alacoque (1647-1690). The cult was again in fashion at the end of the nineteenth century. Marguerite-Marie was made a saint in 1864, and this gave rise to much celebration. The defeat of France in 1870 exacerbated national frustrations, and the cult of the Sacred Heart took on nationalist and impassioned overtones. France, as a country, was even dedicated to the Sacred Heart in 1873, at Paray-Le-Monial, by the Deputy for Toulouse, Gabriel de Belcastel.
The Jesuits of Toulouse, during the nineteenth century, were keen propagandists for an iconography which, in their view, could influence the general public. The association known as the « Apostolat de la Prière », approved by the Pope in 1866, was a keen evangelist for this pious imagery, supported by the newspaper, Messager du cœur de Jésus. The painter Bernard Benezet (a pupil of Hyppolite Flandrin) was commissioned in 1874 to paint the model for the Sacred Heart, and this model gave rise to endless reproductions, on all sorts of materials and objects. The author of the present article examines the diffusion of this image, underlining its commercial aspects. The over-enthusiastic support given to this « plaster-saint » type of art (art « saint-sulpicien ») by the French ultramontane faction in no way encouraged the renewal of sacred art that many early twentieth-century artists hoped for.
Le marchand d’allumettes d’Otto Dix, une œuvre manifeste ?
Authors: Wermester Catherine 
Published: June 2021

Otto Dix’s Match Seller, a manifesto-work ?
In 1920, after the events of the Kapp putsch at Dresden, and after the mutilation of one of Rubens’ paintings, Bathsheba ai the fountain (held by the town’s Museum of Fine Art), caused by the fighting, Oskar Kokoschka launched an appeal encouraging his artist peers to prevent the destruction of the German artistic heritage. This appeal sets off the Kunstlump controversy, one of the essential episodes in the debates which agitated the Weimar Republic’s artistic community around the question of the social role of artists and of art. In his painting, The Match Seller (1920), in which the main figure is a disabled ex-serviceman, Otto Dix brought his contribution to the polemics launched by George Grosz and John Heartfield. The painting incorporates an extract from the text of Kokoschka’s appeal and also a possibly unconscious quotation from Grünewald ’s Issenheim altar screen. This last is pointed out here by a brief study of the relations between the Big City triptych (1927-1928) and the old master’s masterpiece. These indications bring the debate more directly to bear on the social role that avant-garde artists now supposedly occupied. Consequendy, Dix’s work may not be seen as a purely circumstantial statement, stigmatizing the political attitudes which lead to war and to the Kapp putsch ; on the contrary, it is a deeper reflection on the real possibilities for art and the artist to have an influential role.
Rome et la formation des collections du cardinal Mazarin
Authors: Michel Patrick 
Published: June 2021

Rome and the formation of the collections of Cardinal Mazarin.
Most of the statues of classical antiquity and the paintings which Mazarin acquired after 1640 for his Paris residence, the hôtel Chevry-Tubeuf, were purchased in Rome. The Cardinal here three advisors there, Antonio della Cornia, the abbot Elpidio Benedetti and Paolo Maccarini, his confidential agent. The account books of this last, recently discovered in the archives at Rome, along with the diplomatic correspondence kept in Paris, give us a clearer understanding of how this major campaign of art purchasing was undertaken. For the classical statuary, certain special intermediaries involved in the restoration of sculptures — Orfeo Boselli, for example — played a vital part. Mazarin was able to acquire collections which had already been built up, like the collection of Cardinal Jacopo Sannesio, or to purchase statues recently discovered during excavations. The archives show that the Cardinal did not always bother to ask for an official authorisation to take such works out of Rome.
His quest for remarkable paintings was equally avid. The Cardinal acquired the paintings by Ludovisi which Richelieu and even Louis XIII had coveted at an earlier date. After 1653, Mazarin seems to have embarked on purchases of a different sort, mainly art objects or pieces of furniture intented to embellish the interior decoration of his town house.
Le manuscrit illustré du Roman de la poire, XIIIe siècle
Authors: Guilhaume Véronique 
Published: June 2021

The thirteenth-century illuminated manuscript of the Roman de la Poire.
The only surviving illuminated manuscript of the Roman de la Poire (Romance of the Pear) is at the French National Library (B.N. ms. fr. 1286). The study of this manuscript reveals its iconographical specificities and allows us to formulate a new hypothesis as to the atelier which produced it.
The manuscript appears to date from between 1250 and 1270 and is decorated with twenty-seven figures, nine full-page paintings and eighteen illuminated initials. Some of these images represent a commentary on, or a dramatic rendering of, an episode in the poetic text, whilst others reorganise the text’s very structure. Paying particular attention to the images of Tristan and Isolde and to the different versions of the Offering, the author of this article tries to show how intelligent the illuminator was and how personal was his interpretation of the text. The article concludes with a detailed analysis of the style of the images and of the particularities of their conception. This analysis leads to a questioning of the usual attribution of the illuminated manuscript, up till now generally thought to have been produced by the illuminators active in the Bari atelier, in Paris, between 1250 and 1270.
« Che... possede ». Une nouvelle lecture des Allégories de l’Amour de Paul Véronèse
Authors: Palet Laurent 
Published: June 2021

« Che Possede ». A new reading of the Allegories of Love by Paul Veronese.
The four Allegories of Love by Paul Veronese, at the National Gallery in London, are amongst this artist’s most mysterious paintings, and their interpretation will always be uncertain as long as we have no further information about the circumstances of this private commission. The four paintings were originally part of a ceiling ensemble, and they have been given interesting, if unsatisfactory, interpretations by C. Gould, E. Wind, A. Graham and M. Royalton-Kisch. A more detailed formal analysis allows us to submit a new reading of these paintings. The paintings are to be seen in pairs, the negative episodes — Infidelity and Disenchantment — being opposed to the positive ones : Respect and Happy Union. The use of the distances in the paintings, of touching and of the way glances are exchanged, along with the inscription « Che possede », seem to constitute the interpretative keys for a programme which praises the virtues of the patron and questions the viewer, not only directly but also through an intermediate figure.
L’architecture de la Renaissance à Nîmes et ses ambiguïtés
Authors: Potay Corinne 
Published: June 2021

Renaissance architecture at Nîmes and its ambiguities.
The city of Nîmes still possesses a fair number of Renaissance buildings and later buildings which pursue the lessons of the Renaissance up to the 1660s. The numerous vestiges of classical Antiquity that still survive in Nîmes seem to have been a direct inspiration for artists working for a few wealthy patrons such as the Briçonnet bishops. The layout of most of the houses is determined by the town’s dense organisation of land parcels. The typology of these houses dates back in general to the Middle Ages, with only a few elements of detail being really Renaissance. The characteristics of the Renaissance style are to be seen essentially in the architectural décor, examined by the author of this article through a large number of examples.