bluuebunny/crossref_metadata_2025_split huggingface dataset:
Le paysage peint : un « petit genre » à l’heure du renouveau de la grande peinture d’histoire
Authors: Miscault Marie-Aude de 
Published: June 2021

The painted landscape : a “petit genre ” at the time of the renewal of great history painting.
The 18th century saw the big development of landscape painting. Yet, since the writings of Félibien in the previous century, the Royal Academy which influenced ah artistic production, imposed a hierarchical classification by genres, among which the “landscape” was made one of the most “negligible”. However, the increase and diversification of works with this theme imposed the use of more varied and specific terms, while the word “landscape” corresponded only to the representation of countryside. The whole of these paintings still remains bound together with a coherent discourse, like that of Roger de Piles, who distinguished in this genre not themes but a “country style”, too present in France in the 18th century, as well as a “heroic style”, for which Poussin remains to be the unsurpassable model. This last style, which we know from the paintings of ruins, storms, as well as from the genuine historical landscape, and which was valued much by the artistic literature, contributed to the evo¬ lution of the status and definition of the genre.
Un grand décor de Charles Meynier sous le Directoire : la galerie des muses de Boyer-Fonfrède
Authors: Mayer-Michalon Isabelle 
Published: June 2021

A geat decor by Charles Meynier under the Directoire : the gallery of the Muses of Boyer-Fonfrede.
Between 1795 and 1800, Charles Meynier (1763-1832) worked on a great decor for the town residence of the toulousan industrialist François-Bernard Boyer-Fon-frède (1767-1845). This gallery was to represent Apollo and the nine Muses. Among the nine paintings that were initially projected, only five were executed and presented at the Salon in 1798 and 1800 ; the decor was never completed and the gallery never saw daylight. The paintings of Meynier, which were in private possession until 2003, were acquired by the Cleveland Museum of Art. The discovery of an architectural drawing that represented the initial project for the gallery, and numerous drawings or preparatory sketches found in various public and private collections, have allowed the reconstitution of the genesis of this important decor which, although unfinished, remains to be one of the most important representatives of the Directoire.
Le phénomène de la location de tableaux par les marchands de couleurs parisiens au XIXe siècle
Authors: Roth-Meyer Clotilde 
Published: June 2021

The phenomenon of renting paintings by Parisian colour merchants in the 19th century.
In 1817, the painter, restaurateur, colour and painting merchant Alphonse Giroux suggests the rental of paintings, pictures and etchings of the greatest artists. In the following decades, around twenty merchants from Paris and the province will rent works to amateurs and painters. Even if these people have several reasons for renting a painting (for a party, for copying) they are also offered a range of other services. For Giroux and his fellow merchants, the rental of the works of living and non-living artists certainly has the purpose of diffusion of these paintings, but also in a wish to offer their clients the means to improve themselves. The link between this phenomenon, the exhibition and the selling of works, and the artistic materials and pedagogic manuals, clearly appears as the response to a real expectation from the members of the Parisian artistic life in the 19th century.
Le château d’Ancy-le-Franc entre 1844 et 1902 : redécouverte et réécriture du passé
Authors: Bélime-Droguet Magali 
Published: June 2021

The castle of Ancy-le-Franc between 1844 and 1902 : rediscovery and rewriting of the past.
When Anne-Charles, Marquis of Clermont-Montoison, and Gaspard-Louis-Aimé from Clermont-Tonnerre bought the castle of Ancy-le-Franc in 1844, they found a dwelling in which the original Renaissance organisation of spaces had mostly disappeared. The addition of dividing walls and mezzanine floors as well as the setting up of wallpaper or paintings over the very old decorations had largely changed the physiognomy of the building’s interior. The complete restoration of the Chateau Ancy-Lefranc was made between 1844 and 1902. In the mind of Gaspard-Louis-Aimé de Clermont-Tonnerre, it was a matter of regaining the soul of a Renaissance residence, by means of various interventions on decoration, and by getting rid of the quasi-totality of later constructions. However, since he could not completely erase the “outrage of the past”, and in order to live comfortably in this castle, it was necessary to conserve certain old additions like the mezzanines, or to bring some “modern” comfort thanks to the installation of radiators, the restoration for the most part became an interpretation. And it is exactly this 19th century interpretation of the 16th century seen today at Ancy-le-Franc. Besides, the enhancement and the preservation of the painted decoration were not for free. In fact they were to add value to the history of the Clermont-Ton-nerre family. Also the contemporary image of the residence is in reality largely dependent on the scenario that the Clermont-Tonnerre family conceived for itself in the 19th century. To do this, the family knew how to emphasise decorations from the 16th century, which had long been obscured during many decades, and they re-established a historical continuity by means of restorations that contributed to saving this invaluable ensemble.
Henry Lerolle (1848-1929), peintre naturaliste et chrétien
Authors: Amiot Emmanuelle 
Published: June 2021

Henry Lerolle (1848-1929) : naturalist and Christian painter.
Henry Lerolle, a naturalist painter and a friend of Maurice Denis, developed a religious way of painting from the 1870s until the beginning of the 20lh century, which is at the same time characteristic of the naturalistic movement at the end of 19th century and revealing of a personal evolution which manifests itself with the painting exposed at the Salon in 1885, A l’orgue, conserved at the Metropolitan Museum of Art in New York. This evolution, which demonstrates the complexity of his work, is probably linked to his friendships in the impressionist milieu as well as to his activities as a collector. His admiration for Degas and Puvis de Chavannes is certainly in the origin of his taste for the synthesis and decentred compositions, where a singularity is expressed by the emptiness, not very different from Lerolle’s preferences for music.
Maurice Denis (1870-1943) et le Stic B
Authors: Stahl Fabienne 
Published: June 2021

Maurice Denis (1870-1943) and the Stic B.
The “Stic B” is a range of matt paint, invented immediately after the first world war in order to cover up and enrich the rough reinforced concrete surfaces. It was basically used as surface paint, whereas its inventors set their heart on renovating the mural adornment by developing with it a semi-fresco painting. Maurice Denis (1870-1943), a painter and a recognized critic, who at that time enjoyed an actual notoriety as a decorator, was the first to use it as a decorative paint in 1927, and contributed to assure its promotion among the artists in the 1930s and 1940s. The study of his decors painted in Stic B, nourished by a rich and unseen documentation, conveys a precious clarification of the chemical composition, the conditions of its use and the critical fortune of this material little known today.
« L’œil danse » : décors et costumes de Robert et Sonia Delaunay pour Cléopâtre
Authors: Rappe Felicia 
Published: June 2021

The eye dances : decors and costumes of Robert and Sonia Delaunay for Cléopâtre.
In 1918, Serge Diaghilev, founder of the Ballets Russes, approached the Delaunays with the suggestion to create new costumes and a new stage design for the ballet Cléopâtre. Sonia Delaunay applied the principle of her “simultaneous” art works (based on the research of M.-E. Chevreul) to the costumes, while her husband Robert created a dynamic, extremely colourful stage design. Cléopâtre is highly challenging for the observer’s visual perception, equalling the demands of the modern city on people’s eye. Concerning Sonia Delaunay’s objective to integrate people into modern everyday life by way of applying her art to private interiors and Robert’s later monumental mural decorations, Cléopâtre represents an important, previously underestimated leg in the artists’ œuvre.
L’œuvre de Marianne Werefkin à Ascona
Authors: Khomenko Irina 
Published: June 2021

The work of Marianne Werefkin in Ascona.
The museum of Ascona in Switzerland is the owner of the archives of Marianne Werefkin, a Russian artist who left Russia in 1896 with the intention to renew the creative expression in her work. She lived 20 years in Germany and took refuge in Ascona at the beginning of the First World War to finally stay there until her death in 1938. These archives comprise a collection of writings, which are rich in philosophical and artistic considerations of this artist. In Ascona Werefkin’s style established. The subject of her paintings is the man whom she puts alone on the road of life in the middle of a landscape which carries a mystical/symbolic message, by revealing her idea on the question of which way to choose in life. Her philosophy and her search of transcendence is what connect Werefkin to Russian symbolic tradition, which advocates the quest for the eternal source of all things. This quest is expressed differently by Werefkin in her different periods. At the end of her life, Werefkin covers the Ideal that she searched in the figure of the monk, which concentrates on this complex symbolism, reuniting the symbols of transcendence, nature and God.
La peinture en question. Entretien avec Gérard Garouste, réalisé par Thi-Von Muong-Hane
Authors: Muong-Hane Thi-Von , Garouste Gérard 
Published: June 2021

Painting in question. Interview with Gérard Garouste.
The work of Gérard Garouste emerged in the 1980s, at the time when conceptual art occupied the forefront of the artistic scene. According to him, painting is one of the possible ways to pursue the heritage of Marcel Duchamps, who had the attitude of a painter when posing his brush. But following the end of the 19th century — which lacked its avant-garde — the contemporary artists took the official art for the bad art, and lost themselves in an escalation of originality. Already then, the traditional techniques were considered as surpassed, and the artists used them were seen as backward-looking. However, Gérard Garouste claims that painting is a way of expression as current as the multimedia art, but with a mystical dimension. Besides, from his point of view, the esthetical quest is a cultural business and should be relativised. In his paintings, he tries to go beyond the beautiful and the original, using basically painting to give primacy to the subject and to generate a questioning. He does not hesitate to paint in a figural way.
L’objet pour passion : remarques sur la démarche intellectuelle de Raymond Koechlin (1860-1931), historien de l’art
Authors: Tomasi Michele 
Published: June 2021

The object as a passion : remarks on the intellectual approach of the art historian Raymond Koechlin.
Raymond Koechlin’s activity (1860-1931) as a member of the “Société des Amis du Louvre et du Conseil des musées nationaux” is very well-known today. His role in the UCAD and the character of his collection would deserve a study too ; therefore, this article is devoted to his historiographic production. On one hand it is the question of showing how Koechlin’s interests and method were affected by his activity as a collectioner of oriental art objects. On the other hand, the study aims to show that Koechlin’s Alsacian origins and his education in the Ecole libre en Sciences Politiques profoundly marked his approach to European and Asiatic cultures. The writer’s historiographic position is thus defined better, without disregarding the relationship between his colleagues and French and German friends.
Le confort dans les châteaux bourguignons aux XIVe et XVe siècles
Authors: Moreau Christophe 
Published: June 2021

Comfort in the Burgundian Castles of the Fourteenth and Fifteenth Centuries.
Until now most studies of medieval castles have focused on military aspects. Such research, however, does not take into account the increasingly residential nature of castles in the later years of the fifteenth century. This shift led to a change in the architecture and configuration of castles and fortified housing. A survey of the comfort equipment found in the castles of the Duchy of Burgundy in the fourteenth and fifteenth centuries reveals two main categories of installments. Thematically defined by their relation to fire and water, these categories emerge from a close study of both sites and archives. The first axis of this research is based on the element of the fireplace, the second concentrates on water conducts found in Burgundian fortified sites and on the question of hygiene, focusing specifically on latrines. Accounting records provided major source material for this research.
La ville moderne en gestation : Bourges, Laval et Colmar durant le premier XIXe siècle
Authors: Bondon Anne 
Published: June 2021

Genesis of the Modern Town : The Cases of Bourges, Laval and Colmar in the First Half of the Nineteenth Century.
French urban history has ignored the case of medium size towns, and in particular of such towns in the first half of the nineteenth century. The period spanning the years from the French Revolution to the advent of the railway was nevertheless crucial, with fundamental changes in ways of life and popular conceptions taking place. It is from these changes that the model of the « modern » town emerged. Bourges, Colmar and Laval offer three perfect cases for the study of this evolution. Exhaustive research was conducted on the archive of each town, enabling us to reconstruct in detail the transformation of attitudes over time, to cross-reference them with the changes in architecture and urbanization and to identify the context in which the modern town took shape. This essay reveals in particular the key role of the law of 16 September 1807, whose effects account for many aspects of the transformations.
Albert Sélonier, un architecte d’immeubles de rapport à Paris (1895-1926)
Authors: Markovics Alexis 
Published: June 2021

Albert Sélonier, an Architect of Apartments Buildings in Paris Between 1895 and 1926.
Most of the career of the architect Albert Sélonier (1858-1926) was spent erecting apartments buildings in Paris. The history of his professional activity can be reconstructed through the study of municipal records, particularly the records of the Public Works and Tax Departments.
From 1895 to 1905 Albert Sélonier formed a partnership with a land owner and an estate agent to develop a plot of land in the fourteenth arrondissement of Paris. The buildings, designed for middle class families, were erected on plots that were rented with an agreement to purchase by building contractors with means sufficient to ensure that the work was carried out quickly. The picturesque design of the moldings on the façade corners demonstrated the architect’s talent for making the best of the Parisian zoning laws of 1902, which strictly defined the projection and height of buildings. The study of this plot, analyzed from a point of view of micro-history, reveals new aspects of building and urban planning policies in the post-Haussmann period. It also sheds new light on the complex relationship between prime contractor, contracting authority, financial backer, builder and client.
La formation d’une ville « moderne » : Bagdad à la période hachémite (1921-1958)
Authors: Pieri Caecilia 
Published: June 2021

The Elaboration of a “ odern” City : Baghdad during the Hashimite Era (1921-58).
This essay is based on field research that was conducted in Iraq very recendy (2006) despite the current difficult situation. It describes the main features of the urban growth of Baghdad, comparing it with the evolution of the architectural typology. After 1921 and the beginning of the British mandate and of the Hashimite Monarchy, the first planed serial houses and European grid pattern appeared next to the traditional madina’s fabric, which was based on the traditional model of the house with a central courtyard. The 1930s, particularly after the independence in 1932, signaled the different phases of an exogenous modernity in which European models were combined with local adaptations. The 1940s witnessed the introduction of concrete, préfabrication, and villas with a compact plan. The 1950s were the era of the international “Modern Movement”. This study of Hashimite Baghdad concentrates on the question of the reception of modernity, and of stylistic or structural hybridization between the Western and Eastern models. It encompasses the period from the colonial era to the awakening of a national consciousness, identified by the Iraqi Revolution in 1958. Resulting from a successful interweaving of separate cultural traditions and exchange of professional know-how, Hashimite Baghdad presents a new case for the study of the making of a modern city, in which various figures of appropriation are considered as determining factors of the enrichment and renewal of urban forms.
Clichés d’architecture : la photographie d’Ed Ruscha et les sources de l’architecture postmoderne aux États-Unis
Authors: Dryansky Larisa 
Published: June 2021

Architectural Snapshots : The Photography of Ed Ruscha and the Sources of American Postmodern Architecture.
Photography, the art of light, played a key role in the 1920s in the definition of the modernist utopia of a transparent architecture. In a similar way, the photodocuments produced by the artist Ed Ruscha in the early 1960s profoundly influenced definitions of postmodern architecture in America, directly inspiring the production of Robert Venturi and Denise Scott Brown’s manifesto, Learning from Las Vegas. Ruscha’s snapshots brought attention to postwar vernacular architecture - the architecture of strips and suburbs - whose forms until then had been either condemned or simply ignored. In addition to their subject matter, the flat-footed style of Ruscha’s photographs echoed postmodern theory, whose objective was to rehabilitate the façade as the determining factor in architectural design.
Des « arts méconnus » aux « arts premiers » : inclusions et exclusions en anthropologie et en histoire de l’art
Authors: Dias Nélia 
Published: June 2021

From “arts méconnus” to “arts premiers” : Processes of Inclusion and Exclusion in Anthropology and Art History
In 1881, three years after the foundation of the musée d’Ethnographie du Trocadéro, Emile Soldi published one of the first major books on non-Western art under the title Les Arts méconnus (unrecognized art forms). Today, with the opening of the pavillon des Sessions at the Louvre and the inauguration of the musée du quai Branly, the term “arts premiers” - roughly translatable as “primordial arts or early art” - is widely spread in France. Over the course of a century non-Western objects have been successively labeled in France “ethnographic objects”, “arts méconnus”, “arts lointains” (artifacts from distant lands), “primitive art” and, finally, “arts premiers”. This constant process of renaming and redefining non-Western objects informs us about changes in anthropological approaches since the second half of the nineteenth century as it does about the extension of the Western notion of art to non-Western objects. At the same time, non-Western objects are submitted to the same canonical criteria that art historians apply to Western art, and the notion of art has increasingly been equated with the material dimension.
Les historiens de l’art au pays des anthropologues. Emprunts de catégories et impasses disciplinaires
Authors: Jarrassé Dominique 
Published: June 2021

Art Historians in the Society of Anthropologists : Borrowing Categories and the Limits of the Disciplins
Around 1860 several French artists, architects and art historians started to join the two big Parisian societies : the Société d’Anthroplogie de Paris and the Société d’Ethnographie. What was their purpose in doing so ? At the time the field of art history was still in its infancy, and in the process of defining a methodology and creating its own institutions. Both physical anthropology and ethnography (understood in its more cultural aspects) seemed able to provide guidelines to this fledgling discipline, which aspired to the status of a science and set as its goal a comprehensive approach to art. The study of reviews, publications and exhibitions reveals the existence of informal intellectual circles reuniting the members of these scientific societies. The systems they devised together relied heavily on principles of causality and on racial or ethnic criteria. Their scientific model was no longer simply the scientism of Taine, but also, in a deeper sense, the construction of an evolutionist and hierarchical art history. This marriage of art history and anthropology paradoxically closed off for many decades the possibility of a new art history, which, breaking with traditional concepts, would have opened itself to other, non-Western cultures. It also encouraged in some respect an esoteric tendency in art history.
« Musées » et collections dans la Rome antique
Authors: Audoly Marion 
Published: June 2021

Marion Audoly
«Musées » et collections dans la Rome antique
Les sources archéologiques, mais plus encore les sources littéraires, attestent la présence de nombreuses œuvres d’art, venues pour la plupart de Grèce et de divers lieux (domus, temples, jardins, thermes...) de la Rome antique. L’auteur tente dans cet article de comprendre comment est né cet engouement du goût pour la collection chez les élites romaines. D’abord simple butin de guerre témoignant de la gloire des généraux, les œuvres sont «enfermées » dans des collections privées. Ces dernières s’ouvrent progressivement au peuple qui a appris lui aussi à apprécier les chefs-d’œuvre de l’art grec lors des cortèges triomphaux dans lesquels ces œuvres défilaient. Le véritable changement se produit sous le règne d’Auguste, lorsque l’Etat s’investit dans la gestion de ce «patrimoine artistique » et crée d’importantes collections publiques. Son rôle s’accroît ensuite avec le développement d’une administration dévolue à la gestion des collections et la mise en place d’un inventaire.
La redécouverte des collections de Frédéric Cailliaud : contribution à l’histoire de l’égyptologie
Authors: Mainterot Philippe 
Published: June 2021

Philippe Mainterot
La redécouverte des collections de Frédéric Caïlliaud : contribution à l’histoire de l’égyptologie
Au cours des deux voyages qu’il effectua en Egypte et en Nubie de 1815 à 1818, puis de 1819 à 1822, le Nantais Frédéric Cailliaud (1787-1869) constitua une importante collection d’antiquités pharaoniques. Il vendit la majeure partie de ces objets archéologiques à la Bibliothèque royale (aujourd’hui Bibliothèque nationale de France) et se constitua une collection particulière avec le restant. Les aléas muséographiques, les erreurs d’inventaire, le jeu des legs et des dépôts contribuèrent à la dispersion de la collection Cailliaud dans les musées français depuis la première moitié du XIXe siècle jusqu’à nos jours. Grâce aux dessins du voyageur, extraits de ses ouvrages Voyage à l’Oasis de Thèbes et Voyage à Méroé et au Fleuve Blanc, ainsi qu’à la liste originelle des objets collectés par le Nantais, 330 objets ont pu être ré-attribués à la collection Cailliaud. Cette recherche apporte des informations précieuses sur la constitution des savoirs archéologiques et sur l’histoire de l’égyptologie.