bluuebunny/crossref_metadata_2025_split huggingface dataset:
Les monuments d’Isamu Noguchi pendant la période du New Deal
Authors: Ha-Van Ha-Hong-Van 
Published: June 2021

Isamu Noguchi’s monuments during the New Deal period.
During the New Deal period of reforms and economic planning under President Roosevelt, the American sculptor Isamu Noguchi began to participate in the system of public competitions, particularly for monumental sculptures. Although Noguchi’s autobiography skates over this period in his career, it is possible to reconstitute a chronological account of his participation in various types of competition. The high proportion of failure leads us to ask how well his projects were suited to the clients’ wishes. His project for a Monument to Ben Franklin was refused in 1933. His Monument to the Plough, for the Public Works of Arts Project, was similarly refused, as was the Carl Mackley Memorial (c. 1934) for the Public Works Administration. His participation in the competition organised by the Treasury Section of Painting and Sculpture met with no more success.
This period in Noguchi’s creative career is also interesting as an example of the changing status of the artist. Up till then, artists had been little respected, but this was beginning to change in the United States, where the artist was coming to be viewed as an educator, his vocation being to identify the meaning of democracy and to propagate its values. In terms of Noguchi’s ideas, furthermore, the large number of competitions which introduced the question of the relations between a sculpted work and a building also brought the artist to work on this theme of the adequation of a figure to a particular site and its space. These constraints within the competition programmes seem to have had a profound effect on the development of his work. The author of this article examines the creative conditions of a number of monuments, whether these have been lost, destroyed or even if they were never realised. They include the projects for the Apex building at Washington (1937), for the Ministry of War in Washington (1940-1941) and for the State building at the New York World Fair of 1939. The article also looks at some of Noguchi’s projects put forward outside this context of government competitions, notably the Chassis Fountain (1939) for the Ford pavilion at the 1939 World Fair.
Les « places » de Giacometti ou le « monumental à rebours »
Authors: Dufrêne Thierry 
Published: June 2021

Giacometti ’s public squares, or « monuments in reverse ».
Giacometti’s first project for a monumental sculpture — Projet pour une place, 1931 — is certainly to be related to the artist’s meeting with the surrealists. From the outset, De Chirico’s paintings had an influence on the surrealists’ conception of the public square and statues.
Giacometti accentuates the dialectical relationship between private and public space. Le palais à quatre heures du matin (The palace at four in the morning) of 1923, is a miniature memorial accompanied by the artist’s own commentaries inspired by his personal fantasies. Giacometti also wanted to realise sculptures on a monumental scale, as the examination of his projects, the notes in his sketchbooks and his letters to Pierre Matisse all prove. A work of reflection on the dimensions and the function of the pedestal preoccupied him for several years.
His studies for an « immense pedestal » led to a transfer of monumentality from the figure to its surrounding space, the whole public square becoming one monumental pedestal. The author of this article defines two types of public « place » in Giacometti’s work.
Giacometti’s projects after the last war did not come to anything, but his project for the Plaza of the Chase Manhattan Bank in New York drew the admiration of the minimalist American sculptor Donald Judd. The author sees Giacometti’s projects as models for the « oriented itineraries » or the « personal museums » of today.
La chapelle Saint-Hubert à Chauvirey-Le-Châtel
Authors: Roser Sandrine 
Published: June 2021

The chapel of Saint Hubert at Chauvirey-Le-Châtel.
The chapel of Saint Hubert at the Chauvirey-Le-Châtel castle in the Haute-Saône department was built between about 1474 and 1484. The fortified castle belonged to Pierre de Haraucourt. The chapel was designed to house a relic, the hunting horn supposedly belonging to Saint Hubert and probably given by Charles the Bold of Burgundy. This relic, which became the object of an important local pilgrimage, was sold in 1872 and is today at the National Gallery in London. The Western parts of the two-storey chapel have disappeared.
This chapel is one of a series of chapels influenced by the Sainte-Chapelle in Paris.
Its architectural conception corresponds with the various functions of a castle chapel, at one and the same time a private building and a place of public pilgrimage. The lower chapel, simple and somewhat cramped, was intended for the servants and the soldiers, whilst the upper chapel, much larger and ornately decorated, was for the lord and his circle. To the north, a stair turret gave access to both levels. This element, usually only found in civil architecture, features in this religious building as a mark of the owner’s power.
The Saint-Hubert chapel is an exceptional monument in the Franche-Comté region, remarkable for its architectural organisation
Anticléricalisme et naturalisme au Panthéon : le décor de Jean-Paul Laurens
Authors: Vergnette François de 
Published: June 2021

Anti-clericalism and naturalism in the Panthéon : the decor of Jean-Paul Laurens.
Commissioned by Philippe de Chennevières, Jean-Paul Laurens did the paintings for the Sainte-Geneviève church in Paris between 1874 and 1885. This was the period in France when the young Third Republic was taking root and seeking to secularise the state
Fonctions du profane et du « ridiculum » dans l’enluminure médiévale
Authors: Müller Markus 
Published: June 2021

Recent studies by Randall and Camille have thrown new light on the meaning of the medieval illuminations «at the bottom of the page ». The present article follows on from these studies to look at several examples taken from fourteenth-century religious manuscripts. It attempts to measure how autonomous these illuminations are and to analyse their humour. The first two examples examined act as «visual annotations », offering an ironic reversal of the text to serve as a foreword, a clerical vituperatio. The satire resides in a scene taken from daily life, put in the place of a traditional allegorical representation. Two other examples establish a thematic link between the illustration and the text of a psalm ; representations of loving couples create a relationship between the religious world and the world of profane love. This transposition of verses of the psalm into a profane register opens up an interpretative system of the religious text, based on humour. Another example suggests how to interpret a visual circumlocution based on the distinctio. It is a play on words which reverses the original meaning.
The analogies between religious theatre and these «footnote » illustrations confirm our hypothesis on the clerical function in this iconographical tradition.
In both fields it is a question of legitimating the ridiculum in the service of the per suas w : the church’s intentions are translated by means of humour and amusement and in a mixture of stylistic registers that medieval literature inherited from late Antiquity.
La formation d’un mythe : K. F. Schinkel dans les discours de Cari Boetticher
Authors: Samuel-Gohin Véronique 
Published: June 2021

During the twentieth century, the architect Schinkel has been held up as a model by architects as different as Peter Behrens and Giorgio Grassi.
By the time of his death, in 1841, Schinkel
had already become a cult figure in Berlin,
and, from 1844, an annual celebration was organised in
his honour. The first speeches at this
celebration were made by Boetticher, a teacher
at the School of Architecture who thus
acquired a reputation as the master’s most faithful
disciple and the transmitter of his inheritance.
A close analysis of these speeches, however,
shows that Boetticher in fact used the
example of Schinkel in order to impose his own ideas,
deliberately ignoring or hiding everything in
Schinkel’s work that did not correspond
with the strict classicism that Boetticher defended.
À l’aube de l’art gothique comtois : Saint-Hilaire de Pesmes
Authors: Bouchard Maria 
Published: June 2021

Saint-Hilaire de Pesmes, early gothic art in Franche-Comté.
The Saint-Hilaire de Pesmes church, in the Haute-Saône department, dates from the first third of the thirteenth century. The church seems to have been constructed fairly rapidly, probably built from east to west. It underwent various transformations, mainly affecting its western and eastern ends, during the fourteenth century and again, more importandy, in the sixteenth century. The nave, which is four bays long, survives today as the principal vestige of the thirteenth-century church. The high central nave is vaulted with four intersecting quadripartite ribs forming an oblong plan. The side aisles have groined vaults of square plan form. The interior two-level elevation of the nave makes wall surfaces more important than vertical rhythms. In the first three bays, the supports are cruciform piers, with cylindrical piers in the eastern bay. This choice of cylindrical piers, to be found at the same time in many churches in the Ile-de-France region around Paris, after the construction of Notre-Dame, is to be explained perhaps by the existence of a screen for the liturgical choir. The moulding presents remarkable unity. The profile of the nave piers and the decoration of their capitals and bases with carved crockets, leaves and balls all suggest a date of around 1220 to 1230. Thus this nave of the church of Saint-Hilaire de Pesmes is a good example of the characteristic features of early gothic architecture in the Franche-Comté region, marked by a quest for austerity and modesty, still much under the influence of the Cistercian ideals of the preceding century.
En restaurant le Torse de Milet : de la technique à l’histoire
Authors: Braunstein Danièle 
Published: June 2021

Observations on the restoration of the Torso from Miletus passing from technical considerations to history.
Within the perspective of a new presentation at the Louvre of the Torso from Miletus, a major piece of Greek sculpture dating from the early 5th century, a thorough restoration was carried out that provided an insight into the history of this sculpture. The irregular striations that score the surface of the marble are the result of a cleaning that took place during the classical period, most likely at the time when the statue was re-employed as part of the decoration of the Theater of Miletus during the Imperial Age. At the same time, the fitting of a new left arm is confirmed by the presence of a socket for its bedding in the stone and the traces of a chisel and a pointed hammer under the arm.
Further, the traces of a pointed hammer behind the right buttock and thigh correspond to the placement of a strut made necessary because the legs had been broken off before the re-emplacement of the statue in the Theater. However, the traces of a saw, visible between the buttocks and under the right buttock, have proven highly enigmatic : they probably do not stem from the original sculpting of the statue ; they were not necessary to its re-employment in the Theater of Miletus ; and, it is highly unlikely that they were done after the torso entered into the collection of the Louvre at the end of 1873.
In order to soften or hide the spalls that occurred during its transport, the statue was given a coat of patina in 1934-36, prior to a new presentation at the Louvre.
Histoire et iconographie du tympan roman de Saint-Pierre-Le-Puellier
Authors: Boursier Hubert 
Published: June 2021

History and Iconography of the Romanesque Tympanum of Saint-Pierre-Le-Puellier.
As a result of vandalism, the tympanum of Saint-Pierre-Le-Puellier (Cher), which is consecrated to the life of the Virgin, was reduced to a number of individual blocks of stone. A more complete reading of its iconography (the Miracle of the Skeletal Hands) and the restitution of the Latin text has been made possible by the thorough restoration of the tympanum. The presence of oriental characters would suggest a comparison of this piece with an arch stone from the Musée des beaux-arts in Lyons. The representation of a church, in the center of the tympanum, may be that of the cathedral of Bourges. The defacing of the tympanum that occurred before 1791 should, in all probability, be attributed to the Iconoclast movement during the Wars of Religion.
À propos des « Amants de la nature ». Les architectes et l’aquarelle à la fin du XIXe siècle
Authors: Thomine Alice 
Published: June 2021

Alice Thomine : The « Amants de la Nature » (Nature Lovers) : architects and watercolors (1880-1910).
In 1881, the former architectural students of the atelier of Coquart at the Ecole des beaux-arts formed a group, Amants de la nature (an idea borrowed from Lecoq de Boisbaudran), to exhibit their alfresco watercolors. They were followed by other ateliers, notably that of Vaudremer, Arc-en-ciel (Rainbow), which soon became the most active and the most enduring atelier. Among the thirty-seven exhibitors of the Arc-en-ciel and the fifty-one of the Amants de la nature, are several well-known modernists, attached to the Art Nouveau movement, for example J. Binet, C. Genuys, T. Gamier, L. Bonnier, F. Jourdain, L. Woog, etc., as well as the future « greats » of regionalism, Letrosne and de Rutté. Working with watercolors was encouraged because it took the architect away from the picturesque effects of his architectural projects, effects that became out of fashion. The outdoors and its requisite spontaneity is also a learning experience in honesty, on which the rationalist architects based their «artistic morality ». Thus, the use of watercolors laid the basis for a systematic analysis of sites.
Les surréalistes au Canada ou le loup dans la bergerie : l’exposition de Toronto en 1938
Authors: Larocque Yves 
Published: June 2021

Yves M. Larocque : Surrealism in Canada or the Fox in the Hen-house : the Toronto exhibition of 1938.
Canada first learned of Surrealism through periodical publications, books, conferences and exhibitions. Each of those «dispositifs véhiculaires » (Régis Debray) conveyed a different idea of the movement depending on their own perception of it, for example, surrealism is essential to the opening up of Canadian society according to the Canadian Forum, yet it is denounced as fascism in the pages of the Saturday Night. Dating from the first manifestation of surrealism in Canada at the Canadian National Exhibition of 1938 (Toronto), the idea of Surrealism has been subject to English Canadian patriotism. Yet, at the same time, it is also free from it due to favorable conditions resulting from the temporary renunciation of the dominating ideology of nationalism. The dispersion of surrealism in Canada may, also, be related to the two waves of immigration that the country experienced at the beginning of the twentieth century. Moreover, Protestantism, which is linked to the burgeoning of industrialization and to the temperance of the senses, may be seen as responsible for the delay in the acceptance of Surrealism by English speaking Canadians.
Portraits composites : la photographie des types physionomiques à la fin du XIXe siècle
Authors: Saurisse Pierre 
Published: June 2021

Composite Portraits : the photography of physiognomical models at the end of the 19th century.
The goal of the Englishman, Francis Galton, after he perfected the composite portrait, was to represent the physical type of different groups of the population. By associating a facial type with a behavioral one, he aspired, at once, to attach a scientific pretext to social inequalities. The method, which was exhibited in 1878, consisted of the superimposition of photographic portraits of several individuals on a single sensitive plate, in order to obtain a unique facial transparency. Galton applied this process to delinquents or to the sick, in order to demonstrate the hereditary nature of the loss of values that impedes social progress. Arthur Batut used this technique in photographing the inhabitants of a French village, without, however, the eugenistic approach of its inventor. The Americans, on the other hand, chose to superimpose the faces of eminent scientific researchers, and the images of their skulls. Beyond physiognomical appearance and its links with hevavior, both the question of intelligence and that of the observation of the « cradle of thought » are posed.
La faïence fine à Toulouse et la Maison Fouque et Arnoux
Authors: Roqué Emmanuelle 
Published: June 2021

Toulousian White Earthenware and the Maison Fouque et Arnoux.
The white earthenware, introduced in France at the end of the 18th century, based on the technique used in the production English Wedgewood, enjoyed great success among the French middle class during the first half of the 19th century. Originally from Moustier, Fouque and Arnoux settled in Montpellier where they manufactured moulded forms (of which few presently exist) and, especially, numerous series of plates with decorative patterns (21 series are known today).
From 1820 to 1855, they produced white (and, less frequently, yellow) backgrounds and black decorative patterns, with rare touches of color.
In general, the manufacture chose scenes representing current military events (the Independence of Greece), Parisian cityscapes, figures (knights, apostles), scenes taken from the fables of LaFontaine, representations of the months and other scenes closely linked to those used by porcelain manufacturers in the Parisian region (Creil, Montereau, Choisy-Le-Roi). The views of Toulouse and Bordeaux (where Fouque and Arnoux had a major clientele and, from where, the earthenware was exported to Spain), scenes of the history of Toulouse, based on 17th century models, and borders employing the cross of Languedoc typify the Toulousian production of Fouque and Arnoux.
Mussolini bâtisseur ou les leçons de Rome d’Auguste Perret
Authors: Maak Niklas 
Published: June 2021

Mussolini bâtisseur or the Lessons from Rome by Auguste Perret.
In 1940, the art critic Léandre Vaillat and the architect Auguste Perret accepted to write a book entitled Mussolini bâtisseur for the Editions Grasset. Although the text was not published, the Institut français d’architecture (I.F.A.) has, in its library, a typed script of 140 pages ready to be published that recent publications, dedicated to the works of Perret, have overlooked.
The authors describe the rise to power of Mussolini and the urban architectural projects in large Italian cities, especially Rome. The text underscores the profound admiration of the authors for the Du ce and his totalitarian urban concept ; the constructive undertakings of the Fascists are seen as positive acts of socio-urban re-animation. Furthermore, the ideological implications of the text clarify the paradox that haunted the concept of regionalism, as Vaillat perceived it — a concept that tended toward a fusion of local and national identity, authority and individualism.
Photographie autochrome et impressionnisme : le paradigme de la couleur-lumière
Authors: Boulouch Nathalie 
Published: June 2021

Autochrome Photography and Impressionism : the paradigm of color and light.
Based on research by psycho-physiologists, the scientific theories of color that came into being during the second half of the 19th century, nurtured the new concepts of visual culture that were established at the turn of the century. In 1907, the invention of the first industrial color photography process, autochromy, lead to direct comparisons between photography and painting : photography demonstrates the scientific validity of Impressionism and Pointillism and painting, also, offers a legitimate aesthetic to the new-born process of autochromy. The relationship of these two mediums, based their heritage in the scientific theory of color — and not that of iconography — then, allowed the ties which bonded scientific, technical and aesthetic achievements to be examined.
Architecture, topographie et séquences du récit dans un rouleau illustré japonais du XIIIe siècle, le Taima mandata engi emaki
Authors: Leggeri-Bauer Estelle 
Published: June 2021

Architecture, Topography and Sequences of the Narrative on a 13th century Japanese scroll, the Taima mandata engi emaki.
In the mid-13th century, a method of composition appeared in Japanese narrative painting on scrolls : a large architectural complex, in which is situated a residential estate where a sequence of events takes place. The unfolding of the narrative, in which the successive events could have taken place at very different times, is organized both in the interior and the exterior of the residence, which assures both a spatial and topographical painted narrative. The Taima mandata engi emaki (« The Wonderful Story of the Origins of the Image of the Monastery of Taima ») is one of the first works which successfully presents this type of narrative. After proving the originality of this work, compared to earlier works which also incorporate architectural images, this article will examine the role that architecture plays in the elaboration of the narrative. In fact, the architecture assures the topographical unity of the narrative, its compositional organization and the isolation of successive events that follow one another. The architecture also distinguishes space and, further, when associated with other configurations, such as the representation of dress, it facilitates the identification of the individuals based on their situation within the complex.
Les vicissitudes du marché des laques à Paris au XVIIe siècle
Authors: Wolvesperges Thibaut 
Published: June 2021

The vicissitudes of the Market for Lacquer work in Paris during the 17th century.
The commerce of lacquer work illustrates the passionate aspect of the artistic exchange established between the Far East, especially China and Japan, and the West, mainly Holland, England and France. Although England and Holland, rapidly, developed and intense trade with these two Asian countries, at the beginning of the 17th century, unfortunately, owing largely to the warlike comportment of these two European countries,
France was obliged to wait more than a century before establishing direct trading with China. Japan was definitively closed to the West, except for Holland, from 1853.
At the beginning of the 17th century, chinoiserie developed in Paris, where pieces of little worth were imported through Portuguese merchants and sold at fairs, namely that of Saint-Germain. On the other hand, in order to obtain the most beautiful pieces of art, and, especially Japanese lacquer work that was reputed to be, indeed, the most beautiful of this period (and, therefore, extremely expensive),
Parisian merchants, as noted in numerous documentary archives, were obliged to go to markets in Amsterdam. This considerably augmented the cost of the objects and it was for this reason, that only the rich (the King of France and the Nobles) were able to obtain these works.
There existed a double market : on one side, the important high scale merchants, the only ones who were able to propose pieces of quality to their clients, and on the other, the merchants of curiosities, whose prices were considerably lower.