bluuebunny/crossref_metadata_2025_split huggingface dataset:
La physiognomonie zoologique et les arts figuratifs
Authors: Baridon Laurent , Guédron Martial 
Published: June 2021

Zoological Physiognomy and figurative Arts.
Since Antiquity, the theory according to which animals lend their moral personality to human beings and vice versa, is founded upon the analogies between their respective physical specificities. This idea had many consequences on visual arts. No wonder the first application of this theory went with the emergence of individualism at the time of the Renaissance. Due to the visual illustration in the sixteenth century of ancient treatises and their actualisation in the rhetoric of passions, a real physiognomic craze ensued. Thanks to easier works, numerous artists, illustrators and caricaturists used physiognomy all the more convincingly as the inductions of scholars proceeded with visual similarities. Romanticism, by resorting to analogy, rooted this “ animalomania ” in the minds to the point that our social imagery is still permeated with it.
Emblématique et mythologie médiévale, le cygne enchaîné, une devise princière
Authors: Hablot Laurent 
Published: June 2021

Emblemas and medieval myths : the Swan, a princely badge.
At the end of the Middle Ages, a new form of emblem was developed by princes and great European lords, along with heraldry. The swan, little used in heraldry, took an outstanding place among these new emblems or “ badges It is everywhere in decorative arts, in particular in England, but also in France and in the Empire. The reasons of this success are manifold. Tainted with a negative or, at least, ambivalent meaning in books of beasts, the swan is, paradoxically, valued by courtly culture, linking it to the mythical Swan Knight. Numerous European lineages, starting with the Boulogne House, claimed a kinship with this legendary knight. Among the families really linked to the Boulognes, the Lancaster branch of the Plantagenets is the house which most used the swan in its heraldrv, under many forms and with a great variety of meanings. Among all the animals of the bestiary, the swan is no doubt the one who best illustrates the great unity of the medieval world, which transposes its cultural references on the emblematic and decorative level.
La collection de Michel Bégon : l’apport du peintre d’histoire naturelle Claude Aubriet
Authors: Hamonou-Mahieu Aline 
Published: June 2021

Michel Bégon’s collection and Claude Aubriet’s contribution to natural history.
Michel Bégon (1638-1710), a navy paymaster of Louis XIV in La Rochelle, was at the start of a collection composed of medals, books, objets d’art, works by famous painters and curiosities of Nature. To illustrate his collections of insects and birds, he employed the miniature painter Claude Aubriet (c. 1665-1742), in charge, on the other hand, of the king’s vellums. A careful study of the entomological and ornithological plates by Aubriet shows that he greatlv borrowed from former artists such as Maria Sibylla Merian or Johann Walter. This article is concerned with the problem of the role of the artist, as regards his relationship with the scientist or the collector of curiosa.
Les organes génitaux des animaux. Un dialogue mental
Authors: Belzère Stéphane 
Published: June 2021

The genitalia of animals : a mental dialogue.
The painter Stéphane Belzère explains, tinder the form of a dialogue with himself, why he has chosen, for several years, to paint jars containing the genital organs of animals kept in the Museum of Natural History in Paris. He is attracted by the strangeness of the exhibition of organs kept in formol, the refinement of their colours and the softness of the flesh, in which he perceives a real beauty whose ambiguity calls up death. His approach reminds us of the fascination with Wunderkammern, and, at the present time, of the interest shown by artists in all that is organic, meat, dead or alive. Belzère has also painted bottled food, which exerts on him the same attraction, i.e. repulsion and absolute fascination.
De la plate-bande à la poutre Hennebique
Authors: Germann Georg 
Published: June 2021

From the entablature to the Hennebique system.
The association of masonry and metal has a long story. From the bolts and cramps in Greek temples to the colonnades from the sixteenth to the eighteenth century, iron reinforcement never stopped appealing to builders in spite of the damage caused by rust as soon as iron was substituted to bronze. Many innovating buildings can be found in France. However, in the eighteenth century, the building of the reinforced portico of the cathedral of Geneva by Benedetto Alfieri came before that of the French Sainte-Genevieve church, as well as the fire proof clamping of vaults and ceilings of the Mint in Bern by Jacques-Denis Antoine are prior to the reinforced concrete floors of the nineteenth and twentieth centuries. Could François Hennebique, inventing a monolithic reinforced concrete beam, have been inspired by the prints of the Enlightenment Century showing entablature tie-bolts and metallic braces ?
When David Became David: David’s Debt to Voltaire and the Philosophes
Authors: Apgar Garry 
Published: June 2021

Quand David devint David : la dette de David envers Voltaire et les philosophes.
C’est au cours des années 1780 que l’on peut dire que le père du néoclassicisme en France, le peintre David, est devenu David. Pendant cette période, il s’est créé un style propre, en s’inspirant de l’art gréco-romain et en puisant chez des maîtres anciens, tels que Raphaël, Poussin, Le Caravage et des contemporains, Greuze, Gravelot, Peyron et Vincent. Les chefs-d'œuvre davidiens de cette époque, Bélisaire demandant l'aumône, Le Serment des Horaces, La Mort de Socrate et Brutus et les licteurs, ont été tous inspirés de 1’exemplum antique vu à travers les idées et les idéaux des philosophes modernes dont, notamment, Diderot et, avant tout — chose un peu surprenante — , Voltaire. Directement ou indirectement, Voltaire et les artistes illustrant ses pièces de théâtre ont joué un rôle capital dans l’épanouissement artistique de David.
À propos de lesbianisme clandestin en plein Paris : la décadence et Le Rond-point des Champs-Elysées de Louis Anquetin
Authors: Thomson Richard 
Published: June 2021

Louis Anquetin’s Rond-point des Champs-Elysées : about lesbianism in Paris at the end of the nineteenth century.
Anquetin’s large pastel, Le Rond-point des Champs-Elysées (1889, Saint-Germain en Laye, musée départemental du Prieuré), is a highly stylised form, which in its strong outlines, repetitive forms and exaggerated linearity bears comparison with Seurat’s Chahut. But what does it represent ? The evidence of a contemporary text, Léo Taxil’s La corruption fin-de-siècle (1891) strongly suggests that Anquetin’s pastel alludes to the fact that lesbians used this stretch of the Champs-Elysées as a rendezvous between women on foot and in carriages. Several other works of this period represent the same practice. This group shows Anquetin’s close engagement with decadent Paris and his development of a stylised art to account discreedy with his clandestine subject.
Raphaël Collin et le Japon
Authors: Miura Atsushi 
Published: June 2021

Raphaël Collin and Japan.
Collin enjoys in Japan a reputation higher than the one he knows in France, in spite of the recent recognition of French academic painting of the late nineteenth century. This article highlights the relationship between the painter and Japan, first through his important collection of paintings and, above all, his far-east potteries ; then, this collection is related with the esthetics of Collin’s paintings, very easy to detect in his figures of young girls. Furthermore, the article analyses the phenomenon of the “return to japonism ”, thanks to the numerous young Japanese who came to Paris to follow the teachings of the Master and brought back the bases of the modern Japanese School of painting.
Henri Focillon et son expérience roumaine
Authors: Vlasiu Ioana 
Published: June 2021

Henri Focillon and his Romanian experience.
The relationship between Henri Focillon and Romania, very close in between the two world wars is here recalled in the diversity of its aspect. Henri Focillon contributed to making Romanian art known abroad thanks to his writings and his direct participation and organization of the Ancient and Modern Romanian Art Exhibition in the Jeu de Paume in Paris in 1925. Besides, a few Romanian artists were exhibited in the room dedicated to foreign schools at the Fine Arts Museum of Lyon whose director Focillon was. Convinced as he was one must act on one’s time, Focillon. developed a strategy on several levels, one of which was the construction of cultural institutions as, for example, the French Institute in Bucarest, founded in 1924. All this rich activity was developed against a background of friendship between Focillon and the art historian Georges. Oprescu as well as other Romanian intellectuals of the time. The important exchange of letters between Focillon and Oprescu has been used here to underline his deep attachment to Romanian cultural values and friends.
Les voyages d’artistes français en Italie au XVIIIe siècle : bilan des études récentes et perspectives de recherche
Authors: Bertrand Gilles 
Published: June 2021

Travels of French artists in Italy in the 18th century : survey of recent studies and research perspectives.
Several problems emerge concerning the treatment that historical research devoted to the travels of French artists in Italy at the Enlightenment period : scattered written sources which, together with sketches and drawings, enable us to grasp their travelling experience ; the gap between the notions of travelling and sojourning ; and, finally, incomplete studies on that theme. Some strong points can, however, be sifted out, starting with the will to reconstruct the every day life of artists, to the analysis of artistic productions made during their Italian stay, without forgetting the “ back fire kick ”, once in France. It is clear that these travels of highly professional dimensions lead to totally different studies from those concerning the Grand Tour of the eighteenth century upper classes.
Représenter l’altérité politique. Titres et attributs des souverains musulmans dans les textes et les images de croisade
Authors: Caroff Fanny 
Published: June 2021

Titles and attributes of Muslim sovereigns in crusade writings and pictures.
The writings and images on crusades abound with testimonies of how the Muslim world was perceived by the medieval West. The political differences of the crusaders’ennemies have thus been approached in various ways : on the one hand, historians who described Muslim protagonists within their institutions and, on the other hand, illuminators who had to illustrate some episodes of the crusade, mainly in secular workshops of the North of France and of Flanders between the thirteenth and fifteenth centuries. The analysis of written and figurative representations of Muslim sovereignty reveals the ambivalence of their approach, as regards a foreign institution. Indeed, the titles the writers resorted to, the attributes of Muslim dignitaries and some aspects of the court ceremonial reveal a variegated appraisal of their sovereignty ; now stigmatised, now assimilated with Western culture ; and thus devoid of any original dimension.
Les sculptures amérindiennes en Normandie dans la première moitié du XVIe siècle
Authors: Coutard Nicolas 
Published: June 2021

Amerindian sculptures in Normandy in the first half of the sixteenth century.
From the very first years of the discovery of the New World, the Normans carried out many expeditions there. They negotiated with the Indians of the future Brazil for the “ trafiq ” of red wood. The Norman sailors sometimes brought back natives, as was the case at the time of Henri II’s famous festival in Rouen, on October 1, 1550. Centuries afterwards, traces of this relationship still exist between the two countries. This phenomenon had an impact on the local sculpture. However, caution is the word as regards some hasty interpretations. Many proofs, whether historical or local, have to be collected to certify this influence.
Des études photographiques en histoire de l’art
Authors: Poivert Michel 
Published: June 2021

M. Poivert : About Photographie Studies in the History of Art.
The part played today by photographic studies in the history of art can be measured when we note that the contradiction -work of art or document ?-in the status of the snapshot as regards our discipline has been outgrown. By emphasizing the first one and disparaging the second, only one aspect of the production of images from its origin was taken into account. An aesthetical approach as well as a real policy of the authors may have for too long reduced the photographic corpus simply to “photographic works”. Today, a more dialectical definition of the relationship between art and document, at the heart of the modern status of photography, as well as a conception of the “photographical matter”, as a phenomenon close to artistic practices, allow a global vision which has helped renew the historical approach of visual culture.
Les Salons en noir et blanc (1876-1892)
Authors: Meneux Catherine 
Published: June 2021

Catherine Méneux : “Salons” in Black and White (1885-1892)
The first exhibition in Black and White took place in France in 1876. Conceived on the model of the exhibitions in Black and White of London, it collected prints and drawings. This kind of Salon, as well as those to follow between 1881 and 1892, aimed at giving value to graphic arts for which black and white played a uniting and defining role. At the same time, the fashion of watercolour and pastel helped make the public more familiar with colour. Besides, the development of illustration and of posters, together with the taste for Japanese prints, guided the image towards polychromy. In the 1880’s, there was a gap between the taste of the public and the engravers’ still attached to black and white. This conflict between drawing and colour will be solved at the beginning of the 1890’s, when artists redefined the notion of original print and when a new generation of painters elaborated an art free from any stylistic “a priori”.
Publier l’art et la photographie. Les éditions Braun et Cie au XXe siècle
Authors: Boyer Laure 
Published: June 2021

Laure Boyer : Publishing Art and Photography : Braun and Co. Publishers in the 20"' Century.
Studying art edition enables us to reassess the means of artistic diffusion and the historiography of art history. The business of the Braun firm in the 20th Century offers a field of study so far unexplored. Directed by the critics and art lovers, Georges Besson and Pierre Betz from 1930 to 1960, Braun and Co was organized round three different branches : the collection of books on art, as for example, Les Maîtres anciens, announced as a revolution in the art book, artistic reviews, among them the outstanding Le Point and an art gallery.
The omnipresence of photography at Braun and Co, used as a means of reproduction or presented as a work of art in itself, leads the way to a reconsideration about the historiography of photography and the role of picture in art publications.
« Elle a la concision terrible du blanc et du noir ». Henri Focillon, l’eau-forte et les artistes visionnaires
Authors: Schandel Pascal 
Published: June 2021

Pascal Schandel : Henri Focillon, etching and the visionary artists.
In the profuse and complex work of Henri Focillon, the life of forms is not the only support of his conceptual effort. “Spiritual families” beyond the usual time frames and stylistic definitions are constantly in his mind. The family of visionary artists (Hugo, Goya, Meryon, Piranese, Rembrandt ...) particularly appealed to him. His reflexion leans on a rhetoric opposing shade and light, black and white, whose origin is to be found in 19th French poets and writers. Focillon was a scrupulous reader of Gautier and Baudelaire and he approved their assessment of Balzac. This one, compared to an etcher, is called a visionary by his contemporaries : Focillon transposes reality so as to offer a more accute vision of it, just as Meryon’s prints. Focillon borrows this idea from literary critics, translates it into the aesthetic field and explores its possibilities.
L’artiste et ses publics
Authors: Michel Christian 
Published: June 2021

The artist and his publics.
The aim of this article is to grasp the role the recipients of a painting have in its making. Wondering about direct recipients –people who order a work of art-, indirect ones– who buy a painting displayed in a shop or a Salon- and the non buying ones –the public and the critics of exhibitions–, it attemps to show how the artist is brought to vary his strategies in order to please and to sell. It insists on the material aspect of a painting, an artefact meant for financial transactions, which makes the situation of the painter quite different from that of the writer in his relationship with the recipients.
La « bande à Schnegg » : examen d’un groupe de sculpteurs indépendants
Authors: Placin-Geay Amandine 
Published: June 2021

The “bande à Schnegg” : scrutinizing a group of independent sculptors.
The phrase “la bande à Schnegg”, invented by critic Louis Vauxcelles en 1913, must be explained. At first, it was a group of independent sculptors assembling around Victor Schnegg, Rodin’s collaborator, who died in 1909. Without ever constituting a stable and exclusive society, these sculptors (essentially Gaston Schnegg,Jane Poupelet, Robert Wlérick, then Alfred Halou, François Pompon and Charles Despiau) shared a taste for fine work, mainly stone-carving, and sought simple forms drawn from nature. Their influence will span between the two World Wars and their works will often be linked to official architecture.
Henri-Pierre Roché et Joë Bousquet, collectionneurs
Authors: Bonduelle Reliquet Scarlett 
Published: June 2021

Henri-Pierre Roché and Joë Bousquet, collectors.
This article analyses the relationship of two twentienth century writers with their own collections, relationships both similar and different. No ostentation from one or the other in the act of collecting, but a very personal relationship which brings them to live with, and even thanks to the works of art and to exchange with the artists. Henri-Pierre Roché (1879-1959) considers collecting as a means of filling a sentimental gap and being close to such artists as Marcel Duchamp, having met him in New York, with whom he attempted to identify. Joë Bousquet, whose confined life we know about, experiences a sensual approach of his collection and, through it, searches for a means to understand creation and life.
Quatre lettres tirées de la correspondance inédite entre Enrico Baj et Édouard Jaguer
Authors: Sanna Angela 
Published: June 2021

Four letters from the unpublished correspondance between Enrico Baj and Edouard Jaguer.
The four letters concerned are drawn from the unpublished correspondance the Italian artist Enrico Baj (1924-2003), initiator in 1951 of movimento arte nucleare, exchanged with French critic and poet Edouard Jaguer (1924), leader of the Phases movement since 1954. These documents dated 1960, a period during which the two personalities got closer to the surrealist movement, inform us about the discussions that arose between Baj and Jaguer about the Anti-procès, a series of events against surrealism, with which, Baj’s name had been connected. The letters also concern the manifesto Tir de Barrage published by Phases and the surrealist movement against the Anti-procès, as well as the preparation of the 1960 surrealist exhibition in New York in which Baj and Jaguer took part.
Les innovations scéniques de Mariano Fortuny à l’hôtel de Béhague : une scène idéale ?
Authors: Desvaux Delphine , Stasi Laure 
Published: June 2021

Mariano Fortuny’s scenic innovations : an “ideal” modern stage at the Hôtel de Béhague ?
Mariano Fortuny (1871-1949), in Paris since 1901, went about trying to draw attention to the scenery machines he had invented and, in particular, a conch, called “dome” intended to reform Wagnerian Mise-en-scene. Artistic circles were interested but he only found the opportunity of convincing when he met Martine de Béhague, comtesse de Béarn (1870-1939) and built at the Hôtel de Behague the first full size dome, whose evolution is understable thanks to the study of patterns and unpublished archives. This single testimony of his research, still in situ, rediscovered in 1998, will soon be renovated. This first venture in the theater world was, no doubt, the most important move in his career since his having put his ideas to the test, then his meeting with such personalities as Adolph Appia and the freedom the Countess allowed him, spurred him to realize what had only so far been on paper : an “ideal” modern stage, which was imitated in Germany. The experience opened new possibilities in w'hich he was to succeed later : textile (the stage curtain) and fashion.
Une méprise stylistique : l’architecture néoclassique du dix-huitième siècle
Authors: Rabreau Daniel 
Published: June 2021

A stylistic misunderstanding : the 18th Century neoclassical Architecture.
The author, praising a recently published book about the Nantes theater built by Mathurin Crucy in 1784-1787, wishes there had been more French publications about 18th century architecture in the past fifteen years or so. The excellent scientific presentation of the too little recognised architect’s masterpiece is an invitation to reassess the adequancy of the stylistic approach of art, as set down in the 19th century. The concept of neoclacissism, which seemed to be the rule in the many works published between 1970 and 1980 (the 1972 London exhibition or the book by, Allan Braham, 1980), was mainly based on the narrow notion of imitating Antiquity, while it largely ignored the notion of emulation, resorting to an imagination aroused by the new moral, psychological and political demands of an alla'antica French architecture in the years 1760 to 1780. Publications about Piranèse et les Français (1976-1978) opened the wray and A. Braham had an intuition of this but, since 1989, too many unpublished academic studies should have convinced publishers to serve research and the public much better.
Une méthode de restitution architecturale : l’étude du château d’Assier
Authors: Prunet-Tricaud Marie-Rose 
Published: June 2021

A method of architectural restitution : the study of the Château of Assier.
It has been possible to bring back to life the “ magnifique château d’Assier ” by confronting three drawings and a photograph with remains, some on the spot and other squattered, and documents drawn up by public notaries or historical evidence. The archeological process has enabled to carry out rehabilitations, which bring together separate fragments and restitutions, suggested by the contradiction between the sources, especially when confronted with the remains. This exercice in restitution does not only bring a “ missing link in the history of shapes ” but it also brings back to life the chronology of the plans and the stylistic evolution of the building. Beside the progress of the research (from partial certainties to rebuilt wholes), the difficulties of this border-line case analysis of a building is even exemplary of any analysis of a work of art, since in order to see, one must first understand.