bluuebunny/crossref_metadata_2025_split huggingface dataset:
Technique ou culture : histoire croisée des musées d’ethnologie et d’arts décoratifs de Vienne et Hambourg, 1860-1900
Authors: Rolland Anne-Solène 
Published: June 2021

Anne-Solène Rolland
Technique ou culture : histoire croisée des musées d ’ethnologie et d’arts décoratifs de Vienne et Hambourg, 1860-1900
L’auteur aborde les liens entre musées d’arts décoratifs et musées d’ethnologie, à travers l’histoire des musées de Vienne et Hambourg. Malgré des différences évidentes, l’étude des points communs entre musées d’ethnologie et musées des arts décoratifs peut s’avérer pertinente. La place des collections extra-européennes dans les musées des arts décoratifs est le point de départ de cette comparaison : à la fin du XIXe siècle, nombreux sont ceux qui s’enrichissent de collections extra-européennes, notamment asiatiques. La simultanéité de leurs créations, leur appartenance à des champs théoriques nouveaux, leurs approches parfois très similaires des objets justihent également cette comparaison. L’histoire des musées de Vienne et Hambourg, parmi d’autres cas d’étude, offre ainsi des exemples concrets d’affinités inattendues entre ces deux domaines et leurs institutions qui semblent aujourd’hui très éloignées.
Le spectacle musical des métaformes
Authors: Lapelletrie Fabrice 
Published: June 2021

The Musical Spectacle of “Metaforms ”
In 1957, Etienne-Bertrand Weill, following in the steps of Etienne-Jules Marey and of the experimental photographers of the 1920s, started making abstract photographs, which he named “metaforms.” The metaform is the outcome of a long process, which started with photographs of mimes and theater. A simple recording of an object in motion, it is a modern and demanding art form, stemming both from the synthesis of the arts and lumino-kinetics, as well as the tradition of the music of colors. For the artist, metaforms were to appear as contrapuntal elements within a live performance, when they could act directly on the perception of the spectator. Thanks to its plural nature, and its infinitely vast repertory, the art of the metaform always resonates with the arts it is associated with : contemporary music, dance, or poetry. Throughout his lifetime, Weill devoted all his energy to encouraging collaboration between artists so as to achieve the dream of a total spectacle.
Jeanne-Élisabeth Chaudet, ou la diversité stylistique de Greuze à Géricault
Authors: Foucher Charlotte 
Published: June 2021

Jeanne-Elisabeth Chaudet, or the stylistic diversity from Greuze to Géricault.
The career of Jeanne-Élisabeth Chaudet (1767-1832) is characteristic of the women artists of the post-revolutionary period who, having enjoyed some success in their time, are now the major forgotten of the french art history. Trying mostly to satisfy critics by featuring portraits of young children in often unique situations, the artist realizes works in which the subjects don’t show big changes but where the style seems indicative of contemporary aesthetic upheavals. While in her early paintings, Jeanne-Élisabeth Chaudet appears in line with Jean-Baptiste Greuze, the last portrait drawn by her hand, dated 1818, closer to the melancholy of Théodore Géricault. Although her style was often described as “naive” or “charming”, the author wishes to return, in this article, on some stereotypes, taking into account the diversity of her influences and analyzing the singularity of her children portraits of which she became, at that time, one of the main representatives.
Autour de Léon Cogniet et Charles Chaplin : la formation des femmes peintres de genre sous le Second Empire
Authors: Vottero Michaël 
Published: June 2021

Michaël Vottero
Autour de Léon Cogniet et de Charles Chaplin : la formation des femmes peintres de genre sous le Second Empire.
La majorité des femmes peintres de genre sous le Second Empire a été formée dans les ateliers de Léon Cogniet et de Charles Chaplin. Ce type d’ateliers privés est alors à Paris, avec les écoles gratuites de dessin, l’un des rares lieux d’enseignement artistique accessible aux femmes. Si Léon Cogniet offre un enseignement basé sur la copie, Charles Chaplin propose l’étude d’après le modèle nu. L’exemple de ces deux enseignants permet ainsi d’aborder la question de la place souvent marginale de la femme artiste au XIXe siècle et de comprendre l’engouement de certaines d’entre elles pour la scène de genre. L’opposition traditionnelle entre une peinture d’homme et une peinture de femme tend en effet à disparaître sous la plume de la critique. Loin de les abaisser, cette catégorie picturale leur permet bien souvent de rivaliser avec leurs confrères masculins à l’image d’Amélie Fayolle ou d’Henriette Browne.
Ergy Landau : le portrait photographique d’enfants, 1928-1937
Authors: Lavie Juliette 
Published: June 2021

Juliette Lavie
Ergy Landau : le portrait photographique d’enfants, 1928-1937
Si Ergy Landau est considérée comme l’une des représentantes de la photographie humaniste, c’est pour son attachement à l’individu, à l’être. Son regard aiguisé sur l’enfant, premier de ses modèles à répondre aux codes de la photographie humaniste, n’a pas été étudié. L’auteure tente de rendre compte du parcours de cette femme photographe qui, au lendemain de la Première Guerre mondiale, se spécialise dans le portrait d’enfants. Ce thème intervient dans le corpus d’Ergy Landau à un moment où se forme, en photographie, un dualisme, entre propositions nationalistes et recherches modernes. Lejeune enfant devient alors, dans la carrière de cette photographe hongroise émigrée à Paris, le terrain d’explorations pour l’obtention d’une photographie vivante, vibrante, qui témoigne de la pluralité de son esthétique et de la diversité de ses intentions. Comprendre que le portrait d’enfants est un sujet a priori féminin ne suffit pas à montrer la particularité de ce genre qui, au contact du savoir-faire d’Ergy Landau, se transforme. Il ne faut plus y voir un portrait classique mais une recherche technique et stylistique. Le portrait devient une séquence narrative, une tête d’expression ; il peut également faire référence aux mythes «fondamentaux » : Jardin d’Eden, Nativité. . . Avec une thématique longtemps considérée comme secondaire, Ergy Landau se démarque de ses confrères et devient par la conjugaison d’une technique photographique d’avant-garde et d’un regard original, la détentrice d’un style pionnier.
Henrietta Delavrancea : la modernité roumaine de l’entre-deux-guerres
Authors: Popescu Carmen 
Published: June 2021

Carmen Popescu
Henrietta Delavrancea : la modernité roumaine de l’entre-deux-guerres.
Dans le sillage de la rapide modernisation de la Roumanie entre les deux guerres, l’architecture y connaît un renouvellement radical. Attentifs aux dernières tendances d’Europe de l’Ouest, les architectes roumains ont élaboré une expression spécifique, mêlant la tradition locale aux principes modernistes. Henrietta Delavrancea (1894-1987), l’une des rares femmes-architectes de l’époque, compta parmi les plus brillants acteurs de cette quête de renouvellement. A travers ses nombreux projets, elle élabora une architecture en phase avec les réalisations les plus avancées du moment, sensible à «l’esprit des lieux » et à la question du site débattue lors du IVe Congrès international d’architecture moderne (CIAM) d’Athènes en 1933.
L’œuvre de Sturtevant : une lecture féministe
Authors: Roffidal Brigitte 
Published: June 2021

The work of Sturtevant : A feminist reading.
Sturtevant’s approach, since the 1960’s, is to copy works of famous artists in a more or less accurate way. As a result, it has often brought his work to that of “appropriationnistes” appeared in the 1980’s. Looking at the differences between her work and those she copies, at the way she chooses them and at the use she makes of her own body in her work is enough to realize that her approach bears many similarities to feminist issues which emerged at the time she began her artistic production.
Questions d’identité sexuée : l’histoire refoulée de l’art
Authors: Creissels Anne , Zapperi Giovanna 
Published: June 2021

Questions of sexual identity : repressed history of art
Until the grand narrative of modernism and without that it is never questioned or even explicitly formulated, the history of art was mainly written in the masculine, confining women in roles such as model and subject. Since the late 1960’s, in the predominantly Anglo-Saxon field of gender studies, the question of sexual difference has been reintroduced by studying the mechanisms of historic exclusion of women, by removing the dominant discourse, through figures embodying sexual ambiguity such as Marcel Duchamp, as well as by contact with feminist movements and theories. The authors present the news of such research and the lines of force of these various studies that work to produce the means of an alternative discourse beyond categories and oppositions.
Le carnet de voyage de Johann Georg von Dillis (1806)
Authors: Josenhans Frauke 
Published: June 2021

Au début du XIXe siècle, de nombreux artistes étrangers - notamment allemands - viennent à Paris, attirés par l’éclat de la scène artistique et par les musées nouvellement ouverts. Parmi eux figure Johann Georg von Dillis (1759-1841), peintre munichois chargé des arts pour la Bavière, qui effectue un voyage d’étude de quelques mois en 1806. Pendant son séjour il tient un carnet, conservé à la Staatliche Graphische Sammlung de Munich, sous forme de journal de voyage, dans lequel il note ses observations ainsi que ses rencontres.
Fa particularité du séjour de Dillis, dont le carnet est le témoignage précieux, réside dans le regard actif - à la fois d’artiste, de conservateur et de critique - qu’il pose sur la scène culturelle française. Ses notes reflètent ses multiples points d’intérêt : étudier le système muséal à la française à travers les principales collections publiques, rencontrer les peintres français tels que Jacques-Louis David, mais en particulier les peintres de paysage, Jean-Victor Bertin notamment, et voir les œuvres saisies dans les pays vaincus, alors rassemblées à Paris. Son intention consiste clairement à acquérir des connaissances au profit de la vie artistique de Munich et particulièrement en vue de la création de nouveaux musées. Connu de longue date pour avoir été cité par de nombreux historiens d’art dans leurs études sur Johann Georg von Dillis, son carnet parisien n’avait pourtant jamais fait l’objet d’une étude approfondie.
L'artiste - l’œuvre - le spectateur : interactions esthétiques dans l’œuvre et les écrits de Daniel Buren
Authors: Jaillet Florence 
Published: June 2021

Alors que de nombreux artistes de sa génération ont pris leurs distances avec le visible, Daniel Buren en a toujours revendiqué la prééminence, ce dont témoigne le nom choisi pour son principal instrument plastique, l’« outil visuel ». Donnée incontournable de son travail artistique, la dimension visuelle tient une place d’autant plus importante que l’œuvre se propose de questionner les conditions mêmes de sa monstration.
Elle s’apparente ainsi à un véritable protocole, mis en place au sein des structures d’exposition et de réception de l’art, impliquant la participation active et « réalisante » du spectateur. Pour accompagner ce processus au sein du musée mais également dans la rue, où son travail s’est fait de plus en plus présent à partir de la fin des années 1980, Daniel Buren fournit aux destinataires de ses œuvres des indications et consignes diffusés sur des supports multiples.
Ce sont quelques-uns des moyens utilisés par l’artiste pour livrer au récepteur les éléments nécessaires à l’activation des œuvres et à la réalisation même des protocoles esthétiques proposés, que cet article se propose d’étudier.
Archéologie et études urbaines : un point de vue
Authors: Derieux Dorothée 
Published: June 2021

Archaeology and Urban Studies : A point of View.
The notion of urban landscape is apprehended by many disciplines of social sciences, among which urban archaeology takes a large place. Born in France in the 1970s, inspired by the North European studies, it was fully affirmed in France in the 1980s with the various operations on site. Now included in the global field of «urban studies», the urban archaeology draws on concepts related to the close disciplines and to the methods which enable it to establish a fruitful dialectic with them. Spaces, societies and temporalities are the three angles of approach of the urban archaeologist, inspired -but sometimes, opposed -by the works of historians, geographers, urban planners, anthropologists and sociologists.
This necessary dialogue between the disciplines whom contours are sometimes blurred, founder of a real “transdisciplinarity”, is the only guarantee of a genuine constructed and constructive discourse on the city as object.
Regarder Abu Dhabi : l’histoire de l’art face à la ville contemporaine
Authors: Texier Simon 
Published: June 2021

Prenant appui sur l’exemple d’une ville neuve et à très forte croissance urbaine (Abu Dhabi, capitale des Emirats arabes unis) , ce texte vise à ouvrir un débat méthodologique. Quel rôle l’histoire de l’art, et plus spécifiquement l’histoire de l’architecture, peut-elle jouer dans l’analyse de la ville contemporaine ? En quoi ses méthodes, associées à celles des géographes ou des architectes, peuvent-elles apporter une contribution spécifique à la compréhension des phénomènes urbains ?
L’accent est également mis sur l’importance du travail photographique et, plus globalement, du rapport à l’image dans l’étude des projets récents. La seconde partie du texte propose l’esquisse d’une histoire de l’urbanisme et de l’architecture à Abu Dhabi, depuis les premiers plans britanniques dans les années 1960 jusqu’aux grands projets lancés en 2004, et propose des pistes de recherche sur des thématiques telles que la dualité spécifique/générique, la question patrimoniale dans une ville nouvelle, la privatisation de l’espace, enfin le rapport au modèle américain.
Les Ports de France (1753-1763) de Joseph Vernet : un regard au service du roi
Authors: Cantin Alexandre 
Published: June 2021

The Joseph Vernet’s Ports de France : Views for the King’s Pleasure.
When he was charged of the mission of depicting the Ports de France, Vernet had not only to submit king of France an accurate representation of the harbours by him visited, but morover had to realize a succession of pleasant pictures.
At first sight, the Ports de France would seem to be a faithful depiction, but looking closer, it appears Vernet had to, for aesthetic reasons or royal propaganda, take a few liberties with truth. By itself the purpose of this royal commission marks the difference between the Ports de France and the veduta as conceived by Canaletto : unlike this Venetian painter, Vernet aims at giving overall and global views of the french harbours.
It would be on the contrary convenient to draw a link between Vernet’s paintings the views of Naples by Van Wittel, two royal commissions abiding by the same criterions and restraints.
Vernet nevertheless appears to be the one who skilfully mingle accuracy and beauty.
Une lecture nouvelle du patrimoine parisien : le Casier archéologique et artistique (1916)
Authors: Guilmeau Stéphanie 
Published: June 2021

A New Reading of the Parisian Heritage : the Casier archéologique et artistique.
By initiating a methodical inventory of interesting buildings of the capital -the Casier archéologique et artistique -the Commission du vieux Paris entered the history of the contemporary architectural heritage. Started in 1916 with members of the Commission du Vieux Paris, the Casier integrates all architectural aspects of the city, from scholarly architecture to popular and new buildings, including prestigious and picturesque urban housing, transcending the scope stated by the Commission des monuments historiques.
As an original work, this inventory includes an exceptional pictures collection, with several hundreds prints of contemporary architecture, which are testimonies of one man’s interest in his time. Indeed, we always speak about the Casier archéologique et artistique of the Commission du vieux Paris, but it’s more an individual work than a collective operation. Since 1916, Louis Bonnier led the project until his completion in 1928. The mechanism analysis of the Casier, as an object and as an administrative department reveals the main role of Louis Bonnier in the architectural history and patrimonialization process of contemporary architecture.
Le nu d’atelier dans l’œuvre photographique de Robert Demachy (1859-1936)
Authors: Faure-Conorton Julien 
Published: June 2021

The Nude Photography workshop in the work of Robert Demachy (1859-1936 ).
Deeply influenced by painting and sculpture, Robert Demachy worked in a painter’s studio were he sometimes photographed nude models. One of these photographs — a direct quotation of Phryne Before the Aeropagus — is a posthumous tribute to the painter Jean-Léon Gérôme, who was the photographer’s neighbor for many years. This homage demonstrates an unusual treatment of the theme of nudity in Demachy’s work. Although intended to lessen the impact of the exposed nude body’s inherent eroticism, the photographer’s various aesthetic decisions (choice of pose, accessories, printing techniques), serve in fact to glorify the sensuality of the undressed figure. This approach of nudity owes much to the genre’s ambiguous status in the context of pictorialism. Nudity in photography was a sensitive issue as well as a great source of inspiration. Thus nude studies were not often exhibited nor published. This is especially true of the work of Demachy despite the fact that he was one of the most prominent pictorial photographers.
Klein versus Manzoni. Le mythe et l’histoire
Authors: Galimberti Jacopo 
Published: June 2021

Klein versus Manzoni : Myth and Historical Fact.
It is a generally accepted idea that the relationship between Yves Klein and Piero Manzoni was conflicted, and that the Italian artist parodied the idealistic posture of Klein. This article develops an analysis showing that this preconception does not have a historical basis. The detailed study of two cases, that of the Achromes and the payment with gold, reveals that Manzoni did not intend to satirize Klein. However, since the myth of a difficult relationship exists, this study will attempt to understand its origin. Finally, focusing on the historical elements that are available, it will be possible to detail the encounters between Klein and Manzoni, covering the 1957-1962 period, before the untimely death of the French artist. Focus on the opposition between the two artists has until now prevented a full comprehension of the diversity and complexity of their work. This article sheds new light on two protagonists of 1960s art, providing a rigorous account of the historical facts still lacking in the literature on this subject.
Les artistes constructeurs de la « civilisation machiniste »
Authors: Puineuf Sonia de 
Published: June 2021

Artists as Constructors of the « Machine Civilisation »
Artists of the international avant-garde, between the two World Wars, felt that it was necessary to take position regarding the « machinism » which seemed to be an important fact in the Western society. While the Futurists saw the machine as a new divinity and the Expressionists feared it, the Constructivists tried to control it and to exploit its creative potential. New works of art were realised within help of the machine : artists were interested in photography, film, typography, radio. Architects tried to exploit the conquests of science and new techniques in order to define the look of the new city. Therefore modern art and architecture were seen as perfect examples for the construction of a real machine civilisation.
Art et biotechnologies : de l’observation à la création du monstre
Authors: Etter Valérie , Le Dref Gaëlle 
Published: June 2021

Art and biotechnologies : From observation to the creation of the monster
Because of his appearance, the monster displays his exceptionality, etymologically, he is a sign or an omen. With the constitution of medical science in the sixteenth and seventeenth centuries, the monster loses the attractiveness of the marvelous. The study and examination of the monster have given little by little birth to teratology and have generated new forms of representation. Thus, various illustrators, artists as well as scientists, created nomenclatures of the different human types. As soon as the nineteenth century, the monster was perceived as the unadapted, the deviant, the degenerate, a conception amplified by evolutionism and hereditarism. An iconographic representation of the decadent and the abnormal was created while the monster as such disappeared from public space. Today, biomedical technologies are available which make it possible to modify one’s body to conform to existing norms, but also perhaps to transform it in a more radical way. Bio-art which draws its inspiration from the biotechnologies which currently modify our world, tend to lay stress on the potentialities provided by these new ways of using living forms. This form of art called biotech generates contemporary chimera, new monsters which incite us to elaborate a new ethical thought.
Polémique et politique. La réception des peintures restaurées à Paris après spoliation (1795-1815)
Authors: Étienne Noémie 
Published: June 2021

Controversy and politics. The reception of paintings restored in Paris after confiscation (1795-1815)
This paper discusses the importance given to the conservation-restoration of paintings publicly displayed in Paris around 1800. After the Treaty of Tolentino (1797), numerous works of art were brought to France. Some of these paintings were treated in the workshops of the Musée central des arts. The objective of such conservations operations was more than just the preservation of the objects ; the museum administration hoped to reverse the charges of vandalism leveled against it by directing the accusations back at the original owners of the works. It developed a written and visual strategy in the public sphere aimed at depicting the former owners as barbarians incapable of safeguarding their own heritage. The operations of conservation undertaken in Paris are in this light presented as beneficial actions, and the French administration emerges as a caring owner ; the presence of the works in French is legitimized by the good treatment they receive there. The conservation-restoration of paintings thereby reveals itself to be an essential justification for French cultural policies from around 1800.
Poussin, “Ut Pictura Poesis” and the Corporeal Poetics of Painting
Authors: Unglaub Jonathan 
Published: June 2021

Poussin, “Ut Pictura Poesis ” and the Corporeal Poetics of Painting.
This essay reflects upon two of the fundamental texts on the relationship of the sister arts of painting and poetry, Gotthold Lessings’s Laocoön and Rensselaer Fee’s Ut pictura poesis. Though the latter is more historically nuanced in recognizing how the theory and practice of narrative painting draws upon the example of poetry and poetic theory, both authors insist on the proper competencies of each medium. Painting captures the immutable spatial presence of corporeal beauty that can be apprehended in a single glance. Poetry represents the temporal sequence of unfolding action and expounds mental concepts. Referencing recent studies on Fee’s own examples of paintings of Rinaldo and Armida by Nicolas Poussin, the essay considers how the artist’s works challenge the absolute distinction between corporeal art and temporal poetry that Fessing claimed invalidated the notion of “ut pictura poesis.” In Poussin, it is precisely the display of an exquisitely beautiful body that accommodates the poetic imagery through which Tasso and his imitators stage the amorous encounter and its temporal denouement. Through stoking the beholder’s desire for the painted body as a concrete object, Poussin unleashes the very passions that animate the sequential reversals and allegorical resonance of the literary text.