bluuebunny/crossref_metadata_2025_split huggingface dataset:
La Vierge du Remède et la dévotion au scapulaire
Authors: Liez Jean-Luc 
Published: June 2021

The Remedial Virgin and Scapular Devotion.
Scapular devotion came into existence at the beginning of the 13th century and was embraced by several religious orders, such as the Servants of Mary, the Carmelites and the Trinitarians. The scapular, consisting of a piece of cloth that differed in color and in form, depending on the monastic order, was worn by both the Religious and by the Laity. It was, essentially, an object of devotion related to the Cult of the Virgin that could save the souls of those who wore it. It is probable that the scapular had a more concrete significance for the Trinitarians. In 17th century engravings, they are portrayed as Christian captives, wearing the scapular, being freed from Muslim prisons. Despite the antiquity of this type of devotion, the iconography of the scapular, linking it to the Virgin, was most likely fixed in the 16th century, since there are too few medieval documents to establish a concrete iconographical reference before this date.
Les couleurs « suggestives » de l’affiche. L’Équipe de Cardiff de Robert Delaunay et la querelle des « panneaux-réclame »
Authors: Rousseau Pascal 
Published: June 2021

The «Suggestive » Colors of the Poster : Robert Delauny and the Dispute Concerning the « panneaux-réclame » (advertising posters).
Robert Delaunay presented the Equipe de Cardiff at the Salon des indépendents in 1913. A hymn to modern urbanism (the Eiffel Tower, the Ferris wheel, biplane, rugby...), this imposing « fresco » is distinguished by its brilliant colors. In the center of the composition, Delaunay places two large publicity posters which immediately attract the attention of the public. The « raison d’être » of these posters in the painting stems from a dispute that occurred several months earlier, when a vote was taken on the law of July 12, 1912, that imposed taxes on publicity posters. Robert Delaunay, captivated by promotional techniques, perceived the space of the entire Salon des indépendants as an immense billboard, where he used brilliant colors — original in concept — to distinguish himself from other avant-gardists. The research that he, then, undertook on « simultaneous contrast » is echoed in the new psycho-physiology of publicity that incorporates the scientific theories of color set forth by Chevreul and Rood.
Note sur la genèse et l’histoire de l’édition de Du spirituel dans l’art de V. Kandinsky
Authors: Podzemskaia Nadia 
Published: June 2021

Observations on the Origins and the History of V. Kandinsky’s On Spiritual in Art.
V. Kandinsky’s Uber das Geistige in der Kunst dates from 1910 and coincides with the realization of his so-called first abstract watercolor. Based on references in later publications, it would appear to have, first, been published in German in 1912 by Piper in Miinich ; it served as the basic source for the interpretation of Kandinsky’s art until the 1980’s.
The discovery of a number of unedited versions of the text, in German and in Russian, as well as various editorial projects (mainly, in Russian) were prepared by the artist but never carried out ; an analysis of these texts renders their history as an extremely complex one. The theoretical treatise, that grew out of the reflections made by Kandinsky in 1904 on the « language of color », was reworked by the artist until 1920-21. The long genesis of this text allows us to reconsider Kandinsky’s pictorial and theoretical development until he began to teach with the Bauhaus. Until present, no edition of On Spiritual in Art has dealt with this text’s complex history.
Aspects de l’archéologie chinoise aujourd’hui
Authors: Elisseeff Danielle 
Published: June 2021

Various Aspects of Contemporary Chinese Archeology.
Since the 11th century, for Chinese scholars, it has been « in good taste » to profess an interest in ancient remains, discovered during their life time, that might confirm the colonial texts on which the legitimacy of the State was based.
It is this tradition that, at the end of the 19th century, served to define the basis of modern Chinese archeology, which was strongly touched by outside influences that brought into play certain new questions, such as that of the origins of humanity. From the beginning of the Chinese Republics (1912), numerous Chinese intellectuals passionately embraced this new science which offered them the hope of being able to contribute to the definition of a national identity and, thus, to place China in a national, rather than regional context.
In 1949, the foundation of the Peoples’ Republic of China gave this movement new dimensions that the Second World War had suppressed. Today, as the Marxist elite have been removed from the foreground, the accent has been placed on the importance of the different regions of China,
Dix années d’études du japonisme en Europe, aux États-Unis et au Japon (1988-1997). Premier bilan
Authors: Mabuchi Akiko 
Published: June 2021

Ten Years of Study of Japonism in Europe, the United Sates and Japan (1988-1997). First Report.
The exhibition, Japonisme, Paris-Tokyo in 1988 had an important effect on the exhibitions that followed and influenced publications and research in Europe, the United States and Japan. This article analyses the activities related to Japonism that took place during the following decade and criticizes several important projects. There is an evident tendency to enrich data and to extend research in countries other than France, which had long been considered the center of the movement, for instance, in Austria, England, the United States, the Netherlands — and even, Poland. This tendency has especially manifested itself in the number of exhibits that have taken place. The main interest of the authors of books and articles is the social framework of the movement and the influence it has had on the working class environment. Research on Japonism has expanded both in geographic and in interdisciplinary studies.
Une histoire de l’art japonais en 1883. L’œil de Louis Gonse
Authors: Gonse François 
Published: June 2021

A History of Japanese Art, as seen through Louis Gonse’s Eye.
The late 19th century in France was marked by the introduction of several thousands of objects of Japanese origin. Numerous private collections came into being at this time ; numerous books and articles were published on this subject. But a decisive step was made in the knowledge of Japanese art, in 1883, when the historian and art critic,
Louis Gonse decided to publish (in collaboration with the Japanese) a first scientific work on the history of Japanese art : L’art japonais. This publication marked a clear rupture with earlier works — mainly, descriptions of travelers and ornamental grammar books — because it placed the accent on the « japonité » of the Japanese, and, also, because the author challenged the ethnocentric behavior and prejudice of his Western contemporaries, vis-à-vis, Japanese art.
Thanks to Louis Gonse, in the West, Japanese objects of art were granted a highly honorable status. L’art japonais, which may seem, today, wholly obsolete, is an extremely interesting publication that allows the reader to understand what, during the 1880’s, was the image that the West projected on Japanese art, as well as the Japanese of ancient Japan, such as the Japan of Meiji.
Les expositions de peinture japonaise contemporaine organisées par le Japon à Paris dans les années vingt
Authors: Hayashi-Hibino Yôko 
Published: June 2021

Exhibits of Contemporary Japanese Painting in Paris, organized by Japan during the 20th century.
Japan organized in Paris, during the 1920’s, three exhibits consecrated to its « contemporary art ». These events responded, first, in a comparatist prospective, to the demands of France that was, at that time, very active in the presentation of foreign art. However, since it was the Japanese that selected the national art to be exhibited and since they were extremely aware of the importance of their presence in foreign countries (such as, France, the heart of Japonism), the works that were chosen did not always reflect Japanese art of the 1920’s. The accent was placed on the differences with Western art, that is, purely on Japanese tradition, rather than on the new tendencies of contemporary art in the archipelago.
This article presents and analyses the strategy of the Japanese and the echoes following the three exhibits in France : the exhibition of Japanese art at the Salon de la Société nationale des beaux-arts in 1922 ; the Japanese section at the Salon d’automne in 1923 ; the Exposition d’art japonais, école classique contemporaine, in 1929.
Le tympan du portail central de la cathédrale de Nantes
Authors: Guillouët Jean-Marie 
Published: June 2021

The tympanum of the central portal of Nantes cathedral.
Owing to a reassessment of the available sources on the sculptured decor of the façade of Saint-Pierre et Saint-Paul cathedral in Nantes, it is possible to bring some precisions about the original state of the building. The tympanum of the central portal of this façade did not present, as is usually acknowledged, an original openwork design which was filled up in the 17th century when the organ loft was erected. The analysis of the still existing remnants, as well as the size and nature of the stones used in this portal leads one to think that its present state dates back to the actual construction.
Textual pieces of evidence allow the clarification of this hypothesis by re-establishing here a tympanal sculpture of the Last Judgment, sculpture which logically completes the layout of the arches. This new restoration leads one to reassess the position of this frontispiece in Nantes in the french monumental scenery of the second half of the 15th century : from that time on Tours will not be the principal and imperative model for the builders of Nantes.
L’achèvement du portail de l’église Sainte-Madeleine à Besançon
Authors: François Laurent 
Published: June 2021

The completion of the portal of Sainte-Madeleine church in Besançon.
This study is devoted to the successive alterations of the plans for the completion of the main façade of Sainte-Madeleine church in Besançon (Doubs). The first ones, locally commissioned in 1823, were made by the architect Nicolas Nicole. They were close to the models from Lorraine, especially to Germain Boffrand’s plans. The Conseil général des bâtiments civils in Paris gave preference to the drawings of the architect Maximin Painchaux, showing a very pure decor for the facade — particularly the towers, devoid of domes known as à l’impériale. The main façade will nevertheless be completed with a local material, originally used : a blue and ochre coloured limestone.
Le « genre arabesque » : nature et diffusion des modèles dans le décor intérieur à Paris, 1760-1790
Authors: Lebeurre Alexia 
Published: June 2021

The « arabesque genre » : nature and diffusion of the models in the Parisian interior decor, 1760-1790.
Among the main inspiration sources of the neo-classical arabesque decorations — Antiquity, Renaissance, and the ornemanists miscellanies — it is difficult to distinguish the models used by the parisian decorators. Most of the portfolios achieved by the artists during their tour in Italy were dispersed and the publications devoted to Antiquity and Renaissance show but a few decorative patterns.
Only some identified ornamental drawings and the collection of prints of Raphael’s loggias enable one to recognize some of the models for the executed decors. As regards the decorative compositions created by the contemporains — prints or decors — one can also notice that they were taken up again by other artists. However, evaluating the diffusion of these models is rather delicate, owing to the few informations concerning the publication dates of the prints and the ownership of the decorative patterns.
Réfection ou restitution ? La restauration des chapelles de la cathédrale de Cahors
Authors: Popescu Carmen 
Published: June 2021

Repairing or restitution ? The restoration of the chapels in Cahors cathedral.
This study examines the vicissitudes of the restoration programs of the chevet in Cahors cathedral (Lot) between 1868 and 1874. A document connected with the biography of the architect André-Emile Lecomte du Nouÿ allows us to be more specific about Viollet-Le-Duc’s influence on the successive architects. Originally favourable to a mere maintenance in the state, owing to the non-homogeneous nature of the building, Viollet-Le-Duc would have eventually suggested an intervention respecting the romanesque aspect of the Holy Shroud chapel, which took place before 1874.
L’architecte Émile Bénard, un Français en Amérique
Authors: Chouard Stéphanie , Hamon Françoise 
Published: June 2021

Emile Bénard, a french architect in America.
The case of Emile Bénard is a good illustration of a phenomenon appearing at the turn of the century in the architectural relation between France and America : the migration of the « Beaux-Arts » style from France towards the United States, then Mexico and ultimately Canada. Actually, after devising several projects in America (Berkeley, Mexico City), Bénard comes back to France in 1913 while his colleague Maxime Roisin, a young architect, stays in Mexico City before settling in 1919 in Canada where he continues his master’s influence.
Deux tableaux inédits de Claude Vignon
Authors: Palonka-Lavenant Anetta 
Published: June 2021

Two unpublished paintings by Claude Vignon.
The author recently had the opportunity to discover two unsigned canvasses which, owing to their facture and subject, might be ascribed to Claude Vignon : an Adoration of the Magi in the parish church of Saint-Martin in Rouez (Sarthe), and a Saint Paul in the convent of the Visitation in La Flèche (at present a hospital). The first painting is very close to an Adoration of the Magi kept in the church of Fère en Tardenois (Aisne), signed and dated 1643. The identification of the Saint Paul is more difficult. Strongly influenced by Caravaggio’s style, its facture looks close to the saints painted by Vignon during his Roman period (before 1643).
À la découverte de Jean Bauret, éditeur de tissus d’artistes, de Kandinsky à Geneviève Asse
Authors: Bonzon Gaël 
Published: June 2021

Discovering Jean Bauret, manufacturer of artists-designed fabrics, from Kandinsky to Geneviève Asse.
This study is devoted to Jean Bauret (1907-1990), connaisseur of contemporary art and textile manufacturer. Although the bringing together of artists of different contemporary art trends in order to design fabrics for interior decoration (furniture, curtains...) is greatly to his credit, he remains unrecognized. From 1943 to 1948, his firm produced fabrics patterned by Vassili Kandinsky, Henri Michaux, Serge Poliakoff, Geneviève Asse, Paule Vézelav, André Lanskoy — among others — , the designs of which were traced by his wife, Hélène Bauret. He ensured their promotion by organizing exhibitions in his own parisian flat. In the difficult post-war period, Jean Bauret’s industrial art fabrics achieved a great success with a french élite accustomed to fashion and living art. In spite of this success, Jean Bauret retired from business at the end of the fifties to indulge in his passion : writing.
Le nombre chez Picasso : une tentative d’appropriation du langage
Authors: Michaël Androula , Guastavino Marc 
Published: June 2021

Picasso and the numbers : an attempt at language appropriation.
Although claiming incompetence as regards mathematics, Picasso shows in his writings a specific interest in using numbers. 1. He uses a number individually, as an example illustrating his reflection on the nature of linguistic sources, and especially on their translation from one language into another.
2. His liking for enumeration increases his interest in mathematical series, but the ones he carries out follow no logical rule. 3. His interest in numbers also extends to arithmetic calculus. Picasso sets down imaginary operations which sometimes lead him only to reproduce their logical strucure. The artist thus diverts the language of mathematics to use it for poetical purposes.
Pour une étude des écrits sur l’art d’André Lhote
Authors: Bouiller Jean-Roch 
Published: June 2021

Notes for a study of André Lhote’s writings on art.
Studying André Lhote’s written works allows to set into perspective his personal evolution in the artistic field as well as the evolution of the artist’s writing status throughout the 20th century (a transition from a descriptive criticism to a more purely informative one and to more theoretical standpoints) . While starting on a multiplicity of literary genres, Lhote does not basically alter his position during his career although, with the passing years, art history takes an increasing part in his writings. André Lhote demands the right for the artist to write about painting, against the tendency towards specialization of the professional art-writers as much as against the advocates of pure painting. This claiming is to be connected with the fact that during his whole career, he practised painting, writing and teaching in parallel. One has a better understanding of this prejudice when one knows that, for him, writings are but a neutral medium allowing a clearer understanding of painting and a better assessment of the great masters’genius. The study of André Lhote’s writings also allows an interrogation about the publishing networks through which their circulation was secured, in the french context (where La Nouvelle Revue Française holds an outstanding position) as well as in the international one where preferential links with Germany, Belgium, Spain and Sweden are disclosed.
L.-N. van Blarenberghe et le Traité sur la cavalerie de Drummond de Melfort (1776)
Authors: Lemoine-Bouchard Nathalie 
Published: June 2021

Drummond de Melfort’s Traité sur la Cavalerie (1776), illustrated by Louis-Nicolas van Blarenberghe.
Outstandingly innovative, the Traité sur la Cavalerie (Treatise on Cavalry) by count Louis Hector Drummond de Melfort, published in 1776 after a gestation of thirty years, crowns a briefly mentioned military career. This work is accompanied by a magnificent atlas of 32 etchings executed by 25 engravers — nowadays quite forgotten or even ignored by the dictionaries — after drawings by Louis-Nicolas van Blarenberghe. This illustration, of which a rare preliminary drawing has been uncovered, remains the most monumental one ever requested from this artist. The publication of the Traité, supported by important subscribers, had an undeniable repercussion upon his career, here related in broad outline. The Traité sur la Cavalerie, twice republished, is inscribed in the tradition of the great etchings books of the enlightened 18th century.
La sculpture religieuse gallo-romaine en Séquanie
Authors: Bourquenez Nathalie 
Published: June 2021

The religious Gallo-Roman sculpture in Sequania.
After the conquest, the various Gallo-Roman peoples will give a plastic shape to their divinities, hitherto mainly worshipped through mental pictures. If, in Franche-Comté, the majority of gods belong to the Greco-Roman world, the most interesting from the religious iconography point of view, are those springing from the Gallo-Roman syncretism and the local traditions. The sculpture of Mandeure’s goddess, or of Avrigney’s bull attest the persistence of indigenous, typically regional worships. The recent discovery in Villard d’Heria’s great religious complex of the statue of Bellona’s worship — the only known representation in the Roman Empire — highlights this notion of a regional specificity. The presence of the Apollo-Sirena and Sucellus-Nantosuelta paredries, or of the sculptured elements of snake-tailed Jupiter’s pillars, shows the strong level of Sequania’s attachment to the Gallic north-eastern provinces.
À propos des bagues dites « pontificales »
Authors: Grusse Dagneaux Éric 
Published: June 2021

On the so-called “Pontifical Rings”
A set of rings with the Pontifical insignia and coat of arms of the 15th century Popes (from Martin V to Innocent VIII) are kept in various public collections. These rings (“pontifical rings”) made of guilded bronze with inserts of rock crystale are of impressive size. The reason for their existence is not known and, though numerous hypothesis have been made since the 17th century, the majority are unfounded. A recent hypothesis, based on their components and their formal and decorative aspects, suggests that the pontifical rings might be the insignia of legation. Owing to the difficult religious context of the beginning of the 15th century’, these rings might well have served to accredit the legates and to give authority’ to the Pope to whom they belonged. The progressive disappearance of the legates, who were replaced by nuncios in the late Quattrocento could have been the reason they were no longer manufactured. Two inventories, the only sources from the 15th century mentioning these rings, support this assumption which takes in account another set of similar rings with the coat of arms of the Aragon kings of Naples.
Un exemple de l’architecture mongole : le Siregetü juu de Kökeqota
Authors: Charleux Isabelle 
Published: June 2021

An example of Mongolian Architecture : the Siregetü juu from Kökeqota.
The Siregetiijuu (in Chinese Xilin zhao) is one of the first monasteries built at the time of the revival of Buddhism according to tibetan rite in Mongolia in the late 16th century. Founded in the city of Kökeqota (today called Hohhot), the capital of the “autonomous” area of Inland-Mongolia, China, it quickly grew and became exceptionally well-known thanks to the famous reincarnated descendants of the Siregetü qutuytu, who benefited from the patronage of Mongolian noblemen and, then, of the Mandchurian emperors. The study of its architecture, as well of its iconography, based on written sources, enables us to retrace its origins and the development of various Mongolian architectural styles. The Siregetü is a typical case proving that the Mongolian builders, who had no fixed architectural tradition, welcomed Chinese and Tibetan influences and integrated foreign techniques and designs to create an eclectic architecture which has become the major support to their new Buddhist identity.
Eugène Piot (1812-1890) publiciste et éditeur
Authors: Piot Charlotte 
Published: June 2021

Eugène Piot (1812-1890), publicist as well as publisher.
Eugène Piot, mainly known as a collector, equally had an important career as a publisher. With the Cabinet de l’amateur et de l’antiquaire — published from 1842 to 1846, then from 1861 to 1863 —, he had the ambition of educating the amateur, as well as contributing to the history of art. However, both the lack of financial means and of intellectual accuracy prevented Piot from carrying out this innovating programe, even if this review had a leading place among the first periodicals devoted to arts. Various polemics kept him busy, no doubt to his disadvantage. Besides, he had too many publishing ventures on the go, which often remained in the state of schemes.
As early as 1851, he took part in the development of photographic illustration in books about architecture and sculpture, mainly for Antiquity. The desire of making a profit out of his publications and of drawing the esteem of erudites thwarted Piot’s editorial ambitions which, nevertheless, revealed how close the scholar was to the amateur.