bluuebunny/crossref_metadata_2025_split huggingface dataset:
Les agoras grecques d’après les recherches récentes
Authors: Marc Jean-Yves 
Published: June 2021

The grecian agoras according to recent researches.
The multiplication of new data concerning hitherto badly known periods (archaism or imperial era) or areas (Macedonia or Far East), as well as the renewed problematics allow for the reconsideration of probably the most emblematic element of the grecian city : the agora. These recent researches deprive the modern concept of the agora of its previous simplicity.
On the one hand it is recognized that the word presented a very strong polysemy for the Ancients.
On the other hand, it is proven that the agoras specificity was less definite and less ancient than one wished to believe, that they were not directly identified with the political center, that they did not concentrate everywhere the totality of the civic buildings, and that, as soon as their architectural and functional personality was finalized, they were integrated into a complex of monuments so that their functions became manifold.
Repentirs de Klee. La fonction autocritique du collage dans les oeuvres découpées et recomposées
Authors: Mari Kōmoto 
Published: June 2021

Klee’s pentimenti. The self-critical function of the collages in his cut-out and recomposed works.
Through a « destructive-creative » process, Paul Klee created some collages of a distinctive type. The specificity of these « sectile » works (about a hundred) lies in the scission, or cutting-out of a pre-existing work followed by a recomposition which transforms it. These works originate in a self-critical look, the artist being led to consider his initial composition as too «harmonious», full of illusions, or over elaborate. Therefore, the cutting-out function is, for Klee, basically corrective.
Our analysis of two sectile works, Hammamet with its Mosque (1914.199) and Anatomy of Aphrodite (1915.45), shows how the pictorial space is transfigured through interventions such as the scission, the shifting of cut-out strips, the center-edge reversal, or the insertion of an empty space. These transformations attest a deliberate choice highlighting the discontinuity. In these pentimenti one can read a question about the « fini » of the art work, and a permanent reminder of its genesis. If it is true that the collages never extend beyond the « given-space » (the rectangular frame), time, for Klee, remains conceived as an extension, an evolution. One might interpret the artist’s wish to document the evolution in his Oeuvrekatalog as the persistence of the utopie idea of Gesamtkunstwerk.
Le destin du musée national d’Art moderne occidental de Moscou (1918-1948)
Authors: Robert Carole 
Published: June 2021

The destiny of the National Museum, of Western Modern Art in Moscow (1918-1948).
The National Museum of Western Modern (« new ») Art (N.M.W.M.A.) of Moscow was born in 1918, thanks to the nationalization of two moscovite collections, Chtchoukine’s and Morosov’s. In 1928, the N.M.W.M.A.’s two national collections are brought together in a single place under the supervision of Ternovets. With the culural politicization imposed by the Soviet régime during the thirties, the N.M.W.M.A. has to justify the stylistic variety' of its french collections, which might be considered « bourgeois ». Ternovets intercedes in order to save the Museum in its genuine original state. Although its collections are preserved, the N.M.W.M.A.’s survival around the forties is difficult within a hostile, anti-occidental official artistic environment.
Eventually, in 1948, the Central Committee of the Soviet Communist Party' arbitrarily votes the Museum’s supression. The disappearence of the N.M.W.M.A. really attests the closing down of cultural life under Stalin.
À propos des copies d’art byzantin à Istanbul : les artistes russes émigrés et l’Institut byzantin d’Amérique
Authors: Podzemskaia Nadia , Ismaïlovitch Dimitrij 
Published: June 2021

Concerning the byzantine art copies in Istanbul. The Russian émigré artists and the Byzantine institute of America.
Created in 1930 by the american archaeologist Thomas Whittemore, the Byzantine Institute of America was, in the thirties, in charge of the tracing, restoration and publication of St Sophia of Constantinople’s mosaics. This Institute’s history nevertheless dates back to the early twenties, since its destiny is closely linked with the presence in Istanbul of a large colony of émigrés, including some artists haring fled the Bolshevist Revolution. Owing to their artistic practise attached to the traditional values of the orthodox world, they wished to pass on a special sensibility, in order to clear the ground towards Byzantium’s reception in Occident. The present article is devoted to some of these artists, especially Izmailovitch and Kluge who, working as copyists, played a significant part in Byzantium’s reception in Occident. Through their skills, the Americans were able to appropriate the RAIK’s experience (Russian Archaeological Institute of Konstantinoupolis, closed in 1914 because of Turkey’s joining in the First World War) and build their activities in direct continuation with their illustrious predecessor. The present article is based on the analysis of some unpublished documents preserved in the archives of Bordeaux, Paris, St Petersburg and Moscow, and wishes to contribute to the history of art history.
Le Recueil de Fontaines et de Frises maritimes gravé par Louis de Châtillon d’après Le Brun
Authors: Janand Marie-Caroline 
Published: June 2021

About the Recueil de Fontaines et de Frises maritimes engraved by Louis de Châtillon after Le Brun.
Numerous books of etchings devoted to fountains appear since the beginning of the 17th century. The first ones, mostly Roman, represent gardens, or urban views. In France, they tend to become books of standard models. Around 1680, Charles Le Brun suggests the engraving of some of his works to Louis de Châtillon. One of these is a Livre de Fontaines et de Frises maritimes (Book of Fountains and maritime Friezes) in which a group of seven prints stand out in the series. It concerns fountains where sculpture plays a major part. The themes derive from mythological cycles. One can link these etchings with some drawings ascribed to Le Brun, kept in the Louvre. Their conception is close to Bernini’s baroque vision. Even though no source evidences it, it is, in all likelihood an informal commission given to Le Brun for the ornamentation of new watering places in Paris around 1665. But the plan was not carried out. There remains a very beautiful book of prints demonstrating — far from the topographical and typological collections — how Le Brun was concerned with the preservation of the compositions he had created.
Le reliquaire du rosaire d’Eringhem
Authors: Laget Pierre-Louis 
Published: June 2021

The reliquary of the Rosary at Eringhem.
The church if Eringhem in northern Flanders exhibits an impressive silver piece composed of a sculpture of the Mother and Child offering a rosarv to saint Dominic, surrounded by fifteen carved medallions depicting the Mysteries of the Rosary, above an enshrined relic of the veil of the Virgin Mary. The sculpture, as well as the medallions, were created by François-Joseph Baudoux, the most famous silversmith master of Lille. This piece was ordered by the parish priest of Eringhem in 1771, most probably to celebrate the victory of Lepanto in 1551, due to the intercession of the Virgin of the Rosary, according to Pope Pius V. The silversmith responsible for the medallions of the Mysteries of the Rosary was greatly inspired by engraved works of French, Italian and Flemish artists. This reliquary, probably unique in France, may, indeed, constitute a particularly early commemorative work.
Architectures animales
Authors: Baratay Eric 
Published: June 2021

Building for animals.
If Historians have, for a long time, underlined and studied the plentiful presence of animals in architecture, they paid less attention, at least in France, to the buildings for animals. This article deals with the present state of studies and new possibilities from examples concerning animals : zoological gardens and circus for wild beats, cow-sheds, stud-farms, stables, race courses and slaughter-houses for farm or cart animals, miniature architectures of dog-kennels, cages or funeral monuments for pets. These artefacts have often been used as experiments. It also makes it possible to study the adaptation to animals of social needs and the reaction to representations concerning animals (decision, reception, life of the building) .
Théophile Gautier ou les paradoxes de la modernité
Authors: Junod Philippe 
Published: June 2021

Théophile Gautier or the paradox of Modernity
If Baudelaire’s name is today often associated with the conception of modernity, it was not the same in the nineteenth century. Now, it is true that Gautier must have transmitted the word to Baudelaire. The two critics certainly had many common points ; both of them were interested in fashion, and we can say Gavarni is for Gautier what Guys is for Baudelaire. But their conceptions of modernity differ on many points and, if Gautier is reluctant to admit the beauty of a black suit, he will soon become the defender of a representation of the modern world that Baudelaire hated. The analysis of the ambiguities, even of the contradictions of Gautier allows us to put in perspective his vision of history and to place him in the evolution of modernity between Stendhal and the Goncourt brothers.
De la poterie à la sculpture. Aubé, Carriès et Gauguin
Authors: Hirota Haruko 
Published: June 2021

From Pottery to Sculpture : Aubé, Carriès and Gauguin.
That Paul Gauguin investigated the possibility of sculptural expression in ceramics was all the bolder in his time because ceramics was considered as industrial art. In order to retrace his process from pottery to sculpture, it is necessary to examine relationship between Gauguin and the sculptors of his time : the academic sculptor Jean-Paul Aubé, also famous as a decorator of vases and Jean Carriès, who shared Gauguin’s preference for stoneware sculpture. These artists had in common the reflection upon the human condition. However, Gauguin had his own wish to renovate the art of sculpture. The passage from pottery to sculpture led in fact to the autonomous sculpture-object.
Un ensemble de peintures françaises postimpressionnistes au musée Bénaki d’Athènes
Authors: Delivorrias Angelos 
Published: June 2021

French postimpressionist paintings donated to Athen’s Benaki Museum.
In 1993, the Museum benefited of the donation by Litsa Papaspyrou, in memory of her father, Gustave Boissière, of nineteen items concerning the first half of the twentieth century, thus increasing the number of French modern works of art accessible to the Greek public. It comprises oil paintings and watercolours by Jules Flandrin, Manguin, Signac, Jean Puy, Vlaminck, etc. and an important group of paintings by Pierre Laprade. The Boissière collection was probably acquired between 1920 and 1930. It will soon be studied and exhibited at the Ghika Pinacotheka, with other modern works of art.
Un document rare : le livre de comptes du retable des saintes Eulalie et Julie de la cathédrale Saint-Jean-Baptiste de Perpignan (1675-1686)
Authors: Lugand Julien 
Published: June 2021

A rare document : the book of accounts concerning the altarpiece of St Eulalie and Julie in Perpignan’s St John-the-Baptist Cathedral.
The book, certified by a solicitor and kept in the Pyrénées Orientales Archives concerning St Eulalie and St Julie’s altarpiece gives the detailed accountancy concerning this work of art in three distinct parts : receipts, expenditures and bills.
A valuable evidence for a well preserved altarpiece, the book allows an accurate analysis of its making, bearing numerous testimonies about the cash, as well as the materials, the guilds and the conditions of work.
Transformations et usages d’un motif : la table en panneau
Authors: Titeux Catherine 
Published: June 2021

Transformations and uses of a pattern : The panel table.
Slabstone panelling appeared in the decorative vocabulary in France in the 1540s. The patterns are derived from antic inscriptions and imitate the slabs decorating Roman triumphal arches. Around 1555, a new type appears, the large projecting slab stone panel or “ panel table ”, completely different from the table alla’antica because of its size and its lack of ornamentation. Used on the pier or in the middle of the span, it stretches on the wall between the windows. When the facade is organized, it tends to spread all over the space between the horizontal mouldings and the pilasters. The panel table does not seem to go back to Antiquity or to renaissance Italian architecture. Its origin can probable be traced to the decorated façades which appeared in France in the second half of the 15th century. Rarely used in the 16th century, the panel table will be very popular in the 17th. Several characteristic shapes tire used simultanouslv, the one used most frequently being the flat, smooth and sharp-edged one, whose prototyp can be seen at Verneuil. The panel table, a simple and ecomnomic way of making a façade look grand, has its place in the hierarchy of ornaments.
Un nouveau partage des responsabilités patrimoniales
Authors: Balsamo Isabelle 
Published: June 2021

A new way of sharing heritage responsibilities.
This paper expounds the new legislation as established in France since 2000 about monumental heritage and particularly the ways of financing and thus the different responsibilities as regards archeology, monument preservation and inventory.
It enhances a new way of sharing responsibilities between the State and local authorities, the Regions as well as the Départements and the towns, for a better public management.
Le siège social du Crédit lyonnais à Lyon (1880-1907)
Authors: Chazelle Marie-Hélène 
Published: June 2021

The head, office of the Crédit lyonnais in Lyon (1880-1935).
The head office of the Crédit lyonnais first moved in 1863 into rented premises in the Palais du commerce of the town and then in 1874 into a block of flats in the rue de la République. As early as 1881, when in Paris important works turned the branch into a central office, in Lyon the administration asked architect Gaspard André for a building plan, which was never carried out. It was only in the beginning of the 20th century that the Crédit lyonnais resumed its plans in Lyon and chose architect Victor Cahuzac to conduct the construction works between 1904 and 1908, which considerably modified the inner organization of services as well as the external aspect of the former building. So V. Cahuzac followed the banque procedure as it was then defined in particular in the building of the great Parisian headquarters of the Comptoir national d ’escompte or Crédit lyonnais. This paper underlines the specific features of the Lyonese building finished in 1935.
Une restauration emblématique : le Gros-Horloge de Rouen (1889-1893)
Authors: Nasi Sophie 
Published: June 2021

An emblematic restoration : the Gros-Horloge in Rouen (1889-1893).
In 1889 started the restoration of the Gros-Horloge in Rouen under the direction of Louis-Charles Sauvageot (1842-1908), architecte des Monuments historiques, it was constituted of an arch, a Renaissance pavilion to which, from 14th to 18th century, time had adjoined a loggia and a corner fountain next to the town clock tower. Much was at stake for, if the commission des Monuments historiques considered this entreprise as the way of refurbishing one of the key monuments of the Renaissance, on the other hand, for the town it was mainly a political action meant to highlight the emblem of restored town freedom. However, a consensus was found around the propositions of the architect who, for his part, took into account the expectations of each party.
Les musées en plein air d’Ismaïlia (Égypte)
Authors: Meurice Cédric 
Published: June 2021

The open-air museums in Ismailia (Egypt).
Ismailia, the town founded in 1863 under Ismail pacha, midway up the Suez Canal, sheltered and exhibited the monuments found in the construction sites when the area was being developed. This paper offers a short history of the laying-out of the gardens where these antiquities, as well as others coming out of archeological excavations, were gathered. These arrangements depended on the Compagnie Universelle du Canal maritime de Suez which organized their setting and maintenance and funded field research from 1904 on together with the Service des Antiquités d’Egypte. After the Second World War, several events punctuated the slow dismantling of these small open-air museums.
La sculpture de la frise équestre du Parthénon : une lecture hippologique
Authors: O'Hare Wilson Maureen 
Published: June 2021

The sculpture of the equestrian frieze of the Parthenon : a hippological reading.
The Ionic frieze on the outer wall of the cella of the Parthenon, finished by 438 BC, represented undoubtedly the great procession of the Panathe-naea. What concerns us here is essentially the sculpture of the 70 % equestrian part of the frieze and the way in which the sculptors went about their task to achieve the resulting effect of dynamism and harmony. And how they managed, in low relief, a convincingly realistic rendering of mounted horsemen riding practically seven abreast. Different hands and indeed different sen¬ sitivities are apparent but do nothing to destroy the unity of the whole. Whilst displaying in this work their intimate knowledge of the horse itself — anatomy and character — it is in these very aspects that their mastery of technique is revealed. They have not failed to show that the horses are striving to get out of the bit. The animals’ heads held high in a horizontal position or, on the contrary, pulled in too severely shows not only that the sculptors were depicting the reality around them but also that this frieze was perhaps not such an idealised representation as often imagined.
L’architecte, le sculpteur, le marbrier et quelques cheminées bellifontaines des années 1730-1740
Authors: Barbier Muriel 
Published: June 2021

The architect, the sculptor, the marble mason and a few mantel pieces at Fontainebleau in the 1730’s-1740’s.
Under the reign of Louis XV (1725-1774), 136 marble chimney pieces were delivered for Fontainebleau. Creating a marble decor meant many contributors, among them the King, architects, marble masons, ornemanists and sculptors. The marble masons working at Fontainebleau were Claude-Félix Tarlé and Louis Trouard. The chimney pieces were overseen by architects, in particular Ange-Jacques Gabriel and were sometimes improved by a sculptor like Jacques Verbeckt. The chimney pieces created in the 1730-1740, those of Marie Leszczinska’s bedroom or for Mesdames’ cabinet, for instance, epitomize the flourishing of rocaille style. The marbles chosen, difficult to carve, responded to the rocaille aesthetics thanks to their multicoloured aspects (brèche violette, Sarrancolin, brocatelle). This period was the golden age for marble masons, whose technical know-how was necessary to the use of marbles that sculptors were not familiar with.
La sculpture monumentale en zinc
Authors: Ferlier Ophélie 
Published: June 2021

The monumental sculpture in zinc.
Discovered and employed in its state of metal at a very late date in Europe, the zinc has been brought to artistic use only since the beginning of the 19th century. The three-fold production of zinc sculpture includes : zinc sculpture as architectural decoration, independant monuments and sculptures and zincs of art. Several consecutive technical improvements allowed the success of this light and cheap metal which served as substitute for more noble and expansive materials. Germany was the international center of monumental sculpture, while France was specialized in the zinc of art. This metal was also specially promoted in the United States of America. The numerous Universal Exhibitions played a crucial role for the realization of sculptures in zinc. Thus the most important ensemble of zinc sculptures known and presevered in France, was realized for the roof of the Petit Palais during the Universal Exhibition in 1900 in Paris. Nevertheless, unable to grant everlastingness, zinc fell into discredit about 1930.
Le thème de la chimère dans l’œuvre sculpté et dessiné de Dimitrie Paciurea (1873-1932)
Authors: Sotropa Adriana 
Published: June 2021

Chimera in the sculptures and drawings of Dimitrie Paciu rea (1873-1932 ).
This paper shows one of the most astonishing aspects of the History of Art in Romania, with the example of Dimitrie Paciurea. In a work bearing religious and mythological connotations, the chimeras carved by Dimitrie Paciurea first appear in the 1920’s. Their disquieting hybrid forms raised many questions ; their mysterious and puzzling origins, their flowing appearance were a complete break from the so beloved by Rumanian authorities naturalistic tradition. Deeply rooted in the sensitiveness of the sculptor, Paciurea’s chimeras can be considered as a late echo of European symbolism, due to their power of suggestion, their silence, their solitude and their strangeness.
Évolution des han (caravansérails) construits à Istanbul entre le début du XVIIIe et le milieu du XIXe siècle
Authors: Pinon-Demirçivi Mathilde 
Published: June 2021

The Evolution of the Han (Caravanserai) of Istanbul Between the Early Eighteenth and the Mid-Nineteenth Centuries.
Focusing on the han of Istanbul built between the early eighteenth and the mid-nineteenth centuries, this essay aims to fill a gap in the history of Ottoman architecture, few studies having been published on this topic. The han were concentrated in the Great Bazaar and its surroundings. They were intended for commercial purposes and used as inns. Their design preserved the main architectural features of earlier buildings while at the same time demonstrating changes that herald the wave of « westernization», which profoundly modified this type of building starting in the second half of the nineteenth century. The traditional han progressively went into decline and they were replaced by new buildings (office buildings, train stations, hotels). Today some han are being restored and rehabilitated. Unfortunately, both the Turkish authorities and the private investors involved in the rehabilitation are mainly concerned with the « folkloric » aspect of these old buildings and their potential as tourist attractions. It is important that contemporary Turkish society recognize the han as valuable parts of the national heritage and attend to their preservation.
La première décennie du Plan Construction (1971-1982) : stratégies éditoriales et représentations
Authors: Lambert Guy 
Published: June 2021

The First Decade of the “Plan Construction ” (1971-1982) : Editorial Strategies and Representations.
The Plan Construction (Building Plan) was created by the French government in May 1971 under the double aegis of the ministère du Développement Industriel et Scientifique (ministry of industrial and scientific development) and the ministère de l’Équipement et du Logement (ministry of housing). Its purpose was to improve the quality of housing and to modify existing building policies, whose purely technical approach was increasingly under attack. This article studies the editorial strategies deployed by this public organization during the first ten years of its existence, examining them in view of the Plan’s original mission and its official status. The periodicals published by the Plan are treated here both as historical sources and as objects of study in their own right. Echoing the “experimental” nature of the organization’s activities, these publications were also engaged in renewing the representation of construction projects. In addition they helped ensure the visibility of the organization and legitimize its existence at a time when its status was still uncertain.