bluuebunny/crossref_metadata_2025_split huggingface dataset:
L’église de Saint-Thibault-des-Vignes et son décor sculpté
Authors: Didier Marie-Hélène 
Published: June 2021

The church of Saint-Thibault-des-Vignes and its sculpted decoration.
The church of Saint-Thibault is little known, and deserves better recognition in the historical context of the building and decoration of romanesque churches in the Ile-de-France region. Its construction dates back to the pilgrimages which began after the return of the relics of Saint Thibault, a saint born at Provins around 1030, who died in Italy in 1066 and was canonized by Pope Alexander II. The church underwent several modifications between the late eleventh century and the Revolution.
The initial construction was apparently the result of a single building campaign ; this is confirmed by the decoration of the capitals of the columns. Two of them are sculpted with geometrical motifs whilst a second group, in the nave, has embellished storied representations or plant motifs. A third group in the apse has capitals which are exclusively carved with plant motifs. The main interest of these capitals lies in the sculpted representations of biblical scenes. Some of these, for example the resurrection of Lazarus, have been mutilated and require better identification.
There were probably two sculptors, perhaps three.
A comparison with the storied capitals of Sainte-Geneviève in Paris is revealing. Despite the slightness of the affinities, the author of this article believes that the sculptor of the main group of storied capitals at Saint-Thibault-des-Vignes could well be the sculptor of the four capitals of Sainte-Geneviève, held today by the Cluny Museum in Paris and probably dating from the late eleventh or early twelfth century.
L’artisanat du meuble à Paris au XVIIIe siècle : Étienne Avril
Authors: Vétois Isabelle 
Published: June 2021

Furniture-making in Paris during the eighteenth century : Etienne Avril.
Etienne Avril, known as Avril l’Aîné (the elder) was a Parisian cabinet-maker. During his lifetime (1748-1791) he acquired a considerable reputation, but he was subsequendy forgotten. In 1774 he was received as master in the cabinet-makers’ guild. In his subsequent career he witnessed ail the legislative measures which attempted to regulate the craft professions, from Turgot’s edict of 1776 up to the law of 17 March 1791 which finally abolished the guild system, replacing it with the « patente », a licence to exercise a trade or a profession. Hitherto unpublished documents from the French national archives and from those
of the Seine department (a record of the placing of seals on his belongings at the time of his death, the claims of his creditors registered with a justice of the peace) allow the author of this article to reconstitute something of the craftsmen’s milieu in which Etienne Avril worked, and to analyse the relationships between suppliers and creators in furniture production.
Les photographies de la « Grande fouille » de Delphes
Authors: Réveillac  
Published: June 2021

The photographs of the «major excavation » at Delphi.
This year is the centenary of the French archaeological excavations at Delphi, and this anniversary is the occasion for the author of the present article to present the sizeable collection of photographs taken during the excavation and held today by the Photo Library of the French School in Athens. These photographs provide a wealth of hitherto unpublished documentation not only on the material conditions of this major undertaking and on the techniques of archaeological photography at the end of the nineteenth century, but also on life in the humble village of Kastri, and on the construction of the new village of Delphi.
Les agrandissements en sculpture : l’exemple de Rodin
Authors: Martinez Rose-marie 
Published: June 2021

Enlarging sculptures : the example of Rodin.
During the nineteenth century, several new techniques for reproducing sculptures were developed, in particular techniques for their enlargment. Rodin enlarged several of his works, and had his own special enlarger, Henri Lebossé (1845-1922). The author describes the processes used and analyses the technical and aesthetic problems that Lebossé was faced with. Under the sculptor’s control, Lebossé had in fact to engage in a real interpretation of the work, on account of the change in scale. Despite this, his status remained that of a simple technician. The author then examines the reasons that led Rodin to enlarge certain of his works, and identifies the relationship between the enlargments of small fragments and the directions of Rodin’s own aesthetics towards the end of his career.
De Rome au Louvre, les avatars du musée Campana entre 1857 et 1862
Authors: Nadalini Gianpaolo 
Published: June 2021

From Rome to the Louvre, the fate of the Campana Museum between 1857 and 1862.
In 1857, the bankruptcy of the Marquis Campana, the result of his inability to reimburse the loans he had granted himself whilst director of the Rome Mont-de-Piété (pawnshop), led to the sequestration of his private Museum. After a few vain efforts by Campana himself to sell the Museum, it became the property of the papal government which was itself, at this date, on the look out for fresh capital. The projects which tried to keep the Campana collections in Rome turned out to be impracticable, and they were finally put up for auction, allowing the museums of the Russian and French Empires to engage in some massive acquisitions of art works. Most of the collection came to France, the Emperor Napoleon III himself negotiating the acquisition at a diplomatic level, followed through telegraphic despatches. These Campana collections, along with the objects brought back from the archaeological missions in Italy supported by the Emperor, entered the Musée Napoléon III, a short-lived showcase for the dynamic cultural policies pursued by the Second Empire.
Le quartier des États-Unis à Lyon : la fin du purgatoire ?
Authors: Berthet Françoise 
Published: June 2021

The Etats-Unis neighbourhood at Lyons : the end of purgatory ?
In comparison with his « Cité Industrielle », seen as an anticipation of the town-planning theories of the Modern Movement, Tony Garnier’s realisations in the Etats-Unis neighbourhood in Lyons have always been seen as something of secondary importance, the result of a compromise.
For many years the area was neglected, and it is only since 1985 that a renewal programme has been undertaken, based on the ideal model that the architect had set forth in the « Cité Industrielle ». After a detailed historical and stylistic study, the author of this article questions the relations between the real Etats-Unis quarter and the imaginary « Cité Industrielle », and shows how the restoration programme has modified the original architecture, the specific qualities of which may be more correctly evaluated today.
Les campagnes photographiques de Martens en Suisse et en Savoie
Authors: Savale Christophe 
Published: June 2021

The photographic campaigns of Martens in Switzerland and Savoy.
Between 1859 and 1864, under the title La Suisse et la Savoie, the Goupil & Cie publishing house produced a set of lithographic prints based on the photographs of Frédéric Martens (1806-1885). This photographer has been largely forgotten today but during his lifetime he had a considerable reputation. The article studies the aesthetic aspects of these views of the Alps, taken in the perspective of a picturesque tradition going back to the late eighteenth century. Their critical reception by contemporaries is also examined, underlining the ambiguous nature of these images, somewhere between scientific documentation and works of art. The article concludes with an analysis of the relations between photography and lithography at this period, the latter process still being a more reliable and cheaper form of image reproduction.
De l’élément industriel au monument
Authors: Bonhôte Jérôme 
Published: June 2021

Making monuments out of industrial elements.
The chimney of the Hoffmann-type kiln of a long-abandoned late nineteenth-century brickworks at Castelnau-d’Estretefonds (Haute-Garonne) was given particular architectural and decorative attention.
This chimney occupies a key position in the landscape, next to a sixteenth-century château and the bell-tower of a church built in the nineteenth century. The chimney has recently been floodlit, giving it the same patrimonial importance as the two other elements of the site.
Similarly, the early twentieth-century mining headstocks and winding gear, in the commune of Blaye-Les-Mines (Tarn), were dismantled a few years ago to be rebuilt in front of the new town hall. This is a particularly symbolic element of mining activity, conceived here too as a memorial to the lives lost in a mining disaster. It is to take its place in an even larger monumental complex.
The isolation and monumentalisation of a particular industrial element is to be found in other parts of France than the Midi-Pyrénées region. The author examines this region but also cites the steam hammer at Le Creusot (Saône-et-Loire), dating from 1876 and erected as a monument at a cross-roads at the entrance to the town in 1969. The steam hammer at Saint-Juéry (Tarn), made in the United States around 1890, has similarly been put up as a monument at the entrance to that town.
La sculpture dans la « querelle de l’Art Sacré » (1950-1960)
Authors: Rinuy Paul-Louis 
Published: June 2021

Sculpture in the « quarrel of Sacred Art » (1950-1960).
The renewal of sacred art in France after 1945 is marked by a major quarrel between the partisans of modernism and the upholders of tradition (1950-1952). Sculpture plays a significant part in this quarrel.
But this art did not enjoy more than a modest influence at the time : only a small number of sculptures were realised, and these sculptures were mostly small in size. Contemporary historical studies pay but litde attention to them. Several of these sculptures, however, realised in a modern idiom, gave rise to lively scandals which are examined in this article as an ensemble : Richier’s Christ at Assy,
V. Székely’s Calvary at Fossé, Gilioli’s Christ at Mulhouse and Chavignier’s at Neuilly. All these examples lead to forms of iconoclasm (destruction or removal of the works) which neither the painting nor the architecture of the time witnessed.
The particular fate reserved for sculpture is to be explained by the religious character generally recognised fot this art form during our century, and by the history of sculpture between the two wars, a history which hardly prepared sensibilities to welcome modern sculptures. These difficulties also help us understand the prudence of sculptors in the world of sacred art after 1960.
Marius Vachon, un militant pour les « industries d’art »
Authors: Laurent Stéphane 
Published: June 2021

Marius Vachon (1858-1928) was a journalist
who played an important part in the late
nineteenth-century French debates about the art
industries. His positions were at first
liberal ones but he moved on to a defence of the
French industrial arts that finished up as a
blind nationalism, insensitive to modernistic
tendencies. His positions are indicative
of the polemics that surrounded the promotion of the
decorative arts at this period. Between
1885 and 1889 he accomplished several official
missions, in the French provinces and abroad, to carry
out an enquiry into the art industries and the
teaching of applied arts. The propositions he put
forward on these themes had but little effect.
He was also involved in the conflict
between the «chambres syndicales » — the employers’
associations — and the Union centrale des
arts décoratifs, founded in 1879. The members of the
latter were more favourable to creative
«Art Nouveau » tendencies than to traditions of
French craftsmanship. Nonetheless, Vachon’s career
is not entirely without positive results,
in particular his initiatives in reforming applied art
teaching in certain provincial French cities
(Besançon, Marseilles, Toulouse, etc.),
sometimes, as at Lyons and Saint-Etienne, in
association with local art and industry museums.
Un Art nouveau pour le peuple. De « l’art dans tout » à « l’art pour tous »
Authors: La Chapelle Alix de 
Published: June 2021

During the period of the blossoming of Art Nouveau, France, like Great Britain and Belgium, witnessed a lively development of social art. In intellectual circles, the leading personalities militating for an art for the people were the architects Frantz Jourdain, Charles Plumet, Louis Sorel,
Léon Bénouville and Henri Sauvage along with the writers Octave Mirbeau, Henri Cazalis (alias Jean Lahor) and Roger Marx. Associated in groups such as the «Groupe des cinq » or «L’Art dans tout », these architects tried in vain to participate in the 1900 Universal Exhibition in Paris, presenting models of workers’ housing which were both salubrious and elegant. In 1903, at the Exposition de l’habitation, Bénouville, Lavirotte and Plumet, associated with Selmersheim, presented some housing pavilions, organised around a central hall, according to English conceptions, built out of industrial materials and furnished by the architects. No orders were forthcoming from workers’ associations, and Plumet ’s model finished up as a holiday home. Bénouville built houses at Beauvais, Epinal and Bogny, all of them equipped with a workshop for family handicraft work, and based on the idea of popular education through art, under the guidance of the family head, the father. This same crusade, organised in the Société nationale de l’art à l’école, a society for the teaching of art in schools, also invited teachers to join in the mission.
Un tableau signé de Pierre Brébiette
Authors: Cortet Odile , Coural Natalie , Haviland Catherine , Mallet Robert , Martin Elisabeth , Ravaux Jean-Pierre 
Published: June 2021

A painting signed by Pierre Brébiette.
The Service de Restauration of the Museums of France undertook, in 1993, the restoration of several paintings for an exhibit devoted to the work of Claude Vignon. Among these paintings was the Abduction of Proserpine by Pluto, which attracted the attention of one restorer because of stylistic differences with the other paintings. After the surface of the painting was cleaned, the signature of Pierre Brébiette, until then invisible, was discovered, identifying him as the unquestioned author of this work. This is the first known, signed painting by this artist, who, until recently, has been known solely as a drawer and engraver. Further, certain comparisons may be made between the script of the graphic works of Brébiette and this painting, the technical character of which would situate it in the early years of the 17th century.
L’art grec dans l’Histoire naturelle de Pline l’Ancien
Authors: Naas Valérie 
Published: June 2021

Valérie Naas : Greek art in Pliny the Elder’s Natural History.
Because the majority of original Greek works of art, as well as the writings of the artists and those of Greek critics have disappeared, Pliny’s Natural History has become our primary ancient source for the understanding of this art. It is, therefore, important to determine both the contributions and the limits of Pliny’s work. Although source research (Quellenforschung ) has clarified the origins of the material compiled by Pliny, both the method of classification of this material and the specifically Roman tastes of the encyclopaedist have received less attention. The suite of the mimesis serves as a chronological axis, strengthened by the accounts of personal relationships between artists that illustrate various anecdotes.
Pliny’s text, which targeted the Roman public, treated only the most beautiful Greek works of art exhibited in Rome. Mention is made of some fifty bronze statues, some one hundred marble statues and some thirty paintings in public collections (private collections were condemned as a display of individual vanity). Both his ethical and civic approach to art places Pliny the Elder within the Roman tradition, torn between a fascination with and a reserve towards Greek art.
Quelques réflexions sur le nombre des couleurs et la composition du blanc aux XVIIe et XVIIIe siècles
Authors: Blay Michel 
Published: June 2021

Some Notes on the Number of Colors and Composition of White during the 17th and 18th Centuries.
This article attempts to show us, by studying the genesis of colors and their enumeration, the confusion that arose among specialists in color, after Newton’s treatise was published in 1672 — a confusion that continued until the middle of the 19th century. To the undefined number of colored Newtonian lights were opposed the persistent objections of the trichromist and the anti-Newtonian observations of J.-P. Marat and the Père L. B. Castel.
Le cycle peint de la cathédrale d’Angers. Remarques sur l’emploi des couleurs au XIIIe siècle
Authors: Subes Marie-Pasquine 
Published: June 2021

The Painted Cycle in the Cathedral of Angers : Remarks on the Use of Colors in the 13th century.
The wall painting in the apse of the cathedral of Angers, dated ca. 1255, is composed of a single register of 20 scenes of the life of Saint Maurille, bishop of Angers in the 4th century. A highly elaborate painting technique was employed : oil and resin-based paints and numerous pigments (white lead, red oxide of lead, azurite, green copper, cinnabar, charcoal, red and yellow ochre). This wall painting provides us with insights into the pictorial techniques, the analysis of form and the iconography. Based on the interplay of the latter, a new interpretation of the use of colors in this cycle may be proposed — that they were most likely used as both a narrative and spiritual instrument.
La fabrication et le traitement des couleurs dans la peinture traditionnelle chinoise de paysage
Authors: Schmitt Camille 
Published: June 2021

The Fabrication and Treatment of Color in Traditional Chinese Landscape Painting.
Beginning under the Tang Dynasty (618-907), an important development in landscape painting took place — an evolution in which the dichotomy between monochrome landscapes, painted in ink, and highly colored landscapes was underscored. Landscape styles « in blue and green » and « in gold and green », whose creation is traditionally attributed to Li Sixun (651-716) or Li Zhaodao (active between 713 and 741) found strong support among painters until the 19th century. Dominant among the colors were those derived from minerals (azurite, malachite and cinnabar pigments) — the fabrication of which will be studied in this article. Under the Yuan dynasty (1277-1368), the first of these styles gave birth to a landscape « in light blue and green », at once seen as archaism and in a strongly literate perspective, in which the same colors were employed but applied in a lighter wash.
At that time, another style of landscape painting (« in light ochre ») came into being where the structuring with ink predominated. In this style — taken up by Huang Gongwang — 1269-1354), Wang Meng (1308-1385) and a number of other orthodox master painters of the Qing Dynasty (1644-1911) — ochre and organic colors (indigo, gum and safflower) that were lighter and more easily applicable than colors derived from minerals were used.
Sources et principes de la polychromie monumentale selon Paul Sédille (1836-1900)
Authors: Girveau Bruno 
Published: June 2021

The Sources and Principles of Monumental Polychrome according to Paul Sédille.
During the second half of the 19th century, monumental polychrome was the grande cause defended by the French architect, Paul Sédille. Following Hittorf, Sédille undertook the crusade in favor of color combined with architecture, going so far as to state, in 1886, that monochrome architecture flaunted nature.
To support his cause, Sédille called on all possible sources, from Asian antiquity to contemporary ceramic artists. Antique and medieval polychromy, the della Robbias, Arab art — all of these influences appeared to cross one another and to lead Sédille to an original syncretism, in which he recommends that simple tones and non-figural forms be applied to architecture, while, at the same time, leaving the structure of the building apparent. The renaissance of architectural ceramics, as they were extolled by Sédille, opened the way to the innovations of Art Nouveau.
La Passion de Turin : un séjour de Memling à la cour de Savoie en 1476 ?
Authors: Elsig Frédéric 
Published: June 2021

The Passion in Turin : Hans Mending’s sojourning at the Court of Savoy ?
Hans Memling’s painting The Passion, presently in the Galleria Sabauda in Turin, has, since the middle of the 19th century, been thought to have been painted at the request of the Florentin banker Tommaso Portinari ca. 1470-71. In 1843,
Passavant, an expert in Flemish painting, suggested the comparison of The Passion with a small painting in the Portinari chapel in Santa Maria Nuova, which is mentioned by Vasari as being part of the Medici collection. This comparison was supported by the majority of specialists in the field. However, it is interesting to note that Weale finds Passavant’s proposition unacceptable and feels that it does not fit correctly within the evolution of Memling’s works. The Passion appears to be linked to folio 210 of the Saluce Hours, is it possible that it never left the Piedmonte and is the product of a sojourn by Hans Memling at the court of Savoy ? This hypothesis is supported by comparisons with the portrait of Jacques de Savoie (most certainly painted by Memling ca. 1476) and the diptych panels in New York and Rotterdam which are very evidently related to The Passion, the left panel of which originated in Turin.
Quelques travaux inédits de Derand dans la chapelle des jésuites de La Flèche
Authors: Le Boeuf François 
Published: June 2021

The Discovery of Unknown Works by François Derand in the Jesuit Collegial in La Flèche.
A study of the 17th century campaigns of construction of the Jesuit collegial in La Flèche (founded in 1603 by Henri IV and converted into a military school in the 19th century) has brought to light the works of certain well-known French artists, long associated with this building.
The collegial was constructed, based on plans drawn up by Louis Métézeau (1559-1615), royal architect. He was succeded by the prominent Jesuit architect, Etienne Martellange (1562-1641), who slightly modified the original plans. In the chapel of the collegial, the reredos of the principle altar was completed between 1633 and 1636. The recent discovery of the contract for the reredos confirms the presence at La Flèche of another equally well-known Jesuit architect, the Père François Derand (1588-1644), who designed it and confided its execution to Pierre Corbineau, one of the most important artisans from the Lavallois.
The confirmation of Derand’s presence at La Flèche has, also, permitted other attributions to be made to him (i.e., the organ in the tribune). Also, this confirmation may clarify the appearance in the 1640’s of two treatises on stereometry — (the first known) — one by Derand and the other by Mathurin Jousse, another artisan at La Flèche.
Un tableau d’Abraham Hondius dans une église de Bordeaux
Authors: Maisonnave Jean-Philippe 
Published: June 2021

A Painting by Abraham Hondius in a Church in Bordeaux.
The discovery of a newly restored painting in the church of Sainte-Croix in Bordeaux confirms the importance of religious inspiration in the work of the Dutch artist, Abraham Hondius, an artist known for his hunting and animal scenes. This painting,
The Annunciation, signed and dated 1663-64, presently in the collection of the National Museum of Krakow, incorporates a sketch or a reduced copy on wood, completed during the painter’s stay in Amsterdam, most likely after his visit to Italy and before he established himself permanently in London. This work, painted in a Baroque style like that of The Annunciation to the Shepherds (1664) in Utrecht, bears witness to the seductive eclecticism of Hondius’ work and offers (despite the uncertainty concerning its provenance ) a new proof of the interest shown by the cosmopolitan elite of Bordeaux in Northern painting.