bluuebunny/crossref_metadata_2025_split huggingface dataset:
La structure et l’enveloppe. Habillage et ornement en architecture (1870-1940)
Authors: Guéné Hélène 
Published: June 2021

Structure and envelope. Covering and ornament in architecture (1870-1940).
The arising of new technical implementations based on framework construction has utterly altered the exterior appearance of the buildings. In the middle of the 19th century, Gottfried Semper described the new architecture as the art of casing. After him, Owen Jones, Viollet-Le-Duc or the Chicago School brilliantly developed an original reflection about the walling, its ornamentation (based on industrialized material) and the dialectical interaction it plays with the structure. At the beginning of the 20th century, the choice of a « skin » fully enveloping the architecture gives precedence to the ornament which thus acquires its total independence in shape and scale (Otto Wagner, Majolika Haus in Vienna ; Roger Jusserand, « Maison Bleue » in Angers). For a while the french rationalist mind will prefer the ornament as contrapuntal to a structure displaying its constructive logic (Perret, rue Franklin in Paris).
From the 10s to the 30s, the envelope tends to reduce to a mere coating. It reveals a radical dissociation between facing and structure within the constructive apparatus. The debate is still open. Suffice it to mention the place nowadays taken by plate-glass or iron (steel, aluminium, plastic...).
Traditions locales et art savant au XIIIe siècle : le décor monumental de l’église de Chissey-sur-Loue
Authors: Ramos Everardo 
Published: June 2021

Local traditions and « scholarly » art in the 13th century : the monumental decoration of the church of Chissey-sur-Loue.
The monumental decoration of the church of Chissey-sur-Loue (Jura) discloses the dichotomy between a « scholarly » art, open to the customs of the day, and a vernacular one attached to regional models. This « scholarly » art emerges especially in the outstanding set of crocketed capitals and in the pattern of some bases (without scotia and with modillions on the plinths), which are related to the forms of the great gothic monuments of the 13th century. This art which, for want of anything better, can be described as « vernacular », appears mainly in figured sculpture : 1. the corbels adorned with fantastic or grimacing heads, supporting a cornice on the inside elevation of the nave, and 2. the portal, with its tympanum showing a Christ in bonds, and its splayings, carved with little heads, imitating the column statues of the great gothic portals.
This contrast between the treatment of the bases and the capitals, on the one hand, and the figured sculpture on the other hand, appears also in various 13th century monuments in Franche-Comté (such as abbey-churches in Baume-les-Messieurs and Luxeuil).
Sources textuelles pour l’étude de la distribution dans les châteaux normands
Authors: Le Pogam Pierre-Yves 
Published: June 2021

Textual sources for the study of space distribution in Norman castles.
The specialization of spaces is a standard problem in the study of civil architecture. If the end of the Middle Ages really indicates an important step in this matter, the archeological, monumental or iconographie sources are comparatively of little use or of delicate interpretation. On the contrary, the textual sources can bring a decisive contribution to this history. The accounts of the royal building sites administration provide useful material about Normandy in the middle of the 15th century.
Thus here are examined the specialization types (public/private, hierarchical, functional, etc...), and their space materialization (wings, floors, light partitions) in the royal castles of the province. The informations gathered are compared with the results coming from the bibliography on civil architecture in the 15th century.
Le décor peint des établissements d’enseignement supérieur à Paris. De la conception à la réception
Authors: Hottin Christian 
Published: June 2021

Painted decor in university education buildings in Paris.
From conception to reception.
The first great painted decors designed for university education buildings dates back to the end of the 18th century, but the golden age of this painting takes place during the Third Republic, when great sites are launched in universities and prestigious schools for their extension or reconstruction.
The majority of these works originate in a public commission, during which execution a number of actors (artist, architect, members of the institutions, officials of the Beaux-Arts administration) bring their contribution to the birth of the work. Its themes, usually put forward by the establishment’s directors, are connected to the history of the institution or the scientific subjects it teaches, but through these works, the group portrait is the most typical feature of a community identity. These works occasioned a greater indifference among the critics than among the users of the premises : at times adorned with drawings, at other times defaced or defiled, they also provided an opportunity to remember the academic years. The recent restoration campaigns show the interest they arouse nowadays.
Un vase attique post-parthénonien : le cratère de Londres E 466
Authors: Giess-Bevilacqua Valérie 
Published: June 2021

A post-parthenonian attic vase : the E 466 London crater.
This article wishes to provide a thorough analysis — mainly through iconography — of a chalice-shaped crater kept in the British Museum in London, whose attribution and dating pose problems. Its theme looks conventional : a pursuit scene between Eos and Cephalos surrounded by astral figures. Nevertheless, the treatment is uncommon and only the decor of a Neapolitan hydria by the Painter of Coghill appears close to it. As a matter of fact, an attribution to Polygnotos’ atelier, more precisely to the Painter of Dinos’ circle, seems very probable owing to iconographie or stylistic analogies with works like the necked amphora in Arezzo. Besides, this type of «astral composition » appears rather at the end of the 5th century, under the influence of the Parthenon’s sculptures, achieving its full bloom with the flowered style (Painter of Médias and his circle). Therefore the London vase can be dated ca. 420 B.C.
Les quatre livres d’Yves Klein, fondement existentiel d’une écriture silencieuse
Authors: Charlet Nicolas 
Published: June 2021

The four books of Yves Klein : the existential foundation of a silent writing.
Yves Klein originally intended to make a career as a judoka. His first book, Les fondements du judo, was published in 1954. Quickly attracted by the artistic milieu from where he sprang, that same year he published his second book : Yves. Peintures. It really is a sham catalogue since, as it appears in the dummy kept in Klein’s Archives, the small-sized cut-out papers are supposed to reproduce Klein’s works, but are no more than independant artefacts. His third book, Le dépassement de la problématique de l’art, appears in 1959, when he achieves the height of his success in Europe. Through this collection of disparate texts, as well as through his art (which leads him to a total monochromy), Yves Klein attests his aspiration towards universality and freedom. His fourth book will never be published. Entitled Mon Livre by some art historians (including the author of this paper) , and L’aventure monochrome by others, its content remains enigmatic. The consulting of eleven typescripts in the Klein archives allows a deeper knowledge of this book which Klein considered as an accomplishment. The author proposes a reconstitution of the complete work.
Quelques nouveaux tableaux d’Isaac Moillon
Authors: Benoît-Cattin Renaud 
Published: June 2021

Newly-found paintings by Isaac Moillon.
The work of Isaac Moillon, the parisian painter, is emerging since about a quarter of a century. Increasing discoveries during the recent years allow to start to outline the original personality of this artist. His uncommon style, still strongly marked by mannerism, is characterized by a very distinctive sense of composition as regards both religious and secular painting. New works have recently been identified in Burgundy, Auvergne and Limousin.
Le manuscrit 434 de la bibliothèque municipale de Besançon. Culture antique et latinité sous le règne de Charles V
Authors: Sparta Catherine 
Published: June 2021

The 424 manuscript in the Bibliothèque Municipale in Besançon : antique culture and latinity under the reign of Charles V.
The 424 manuscript in the Bibliothèque Municipale in Besançon commissioned by Charles V in 1372, contains nine texts and is richly illustrated. The presentation of these texts and the volume’s illustration underscores two aspects of the mediaeval standpoint regarding the antique heritage. On the one hand one notices through the didactic texts, an assimilation of the antique way of thinking, and on the other hand, an attitude of literal handing down of this heritage. An extensive analysis of the illustration accompanying two texts, Boece’s La Consolation de la Philosophie and Aesop’s Fables, lays stress on the second angle. Both types of attitude clearly come to light through the iconography : groping in the first instance and synthetic in the second one.
Une série de bas-reliefs en cuivre d’après des gravures de Goltzius
Authors: Le Boeuf François , Magnien Aline 
Published: June 2021

A series of copper bas-reliefs after Goltzius’ etchings.
This study is devoted to a series of 14 repoussé copper bas-reliefs (as attested by the analysis of the reverses) in Saint Thomas church in La Flèche, dating back to the first half of the 17th century, examined by the National Survey Service in the Pays de la Loire. The identification of the engraved source : a series of the Apostles with Saint Paul and Christ, carried out by Goltzius in 1589, allowed the replacing of this work in its context, and its inclusion in a series of works — shortly described here — executed after this artist. Furthermore, this study endeavours to show how the artist achieved the transposition of the engravings, in a material relatively seldom found in the works inspired by Goltzius, and in a different format, since one passes from a vertical to a horizontal composition.
Laboratoire d’une nouvelle forme d’art : l’édition des Minnelieder (1803) illustrée par Philipp Otto Runge
Authors: Ramos Julie 
Published: June 2021

A new form of art laboratory : the Minnelieder edition 1803 illustrated by Philipp Otto Runge.
In 1803, the writer Ludwig Tieck asks the painter Philipp Otto Runge to create drawings in order to illustrate his translation of a collection of troubadour songs. Backed up by a genetic conception of art history, this project attests their expectation of a new artistic period. While for Tieck the Minnelieder translation constitutes the necessary step towards the awareness of the specificity of an incoming poetry, for Runge, through their code of symbols, the illustrations appear as the forerunners of an unprecedented landscape art. Both feel that a bridge can be thrown over between poetry and plastic art, owing to their common « musicality», thereby endangering the doctrine of their compartimentalization advocated by the upholders of neoclassicism. This aspect comes to light as well in Tieck’s foreword, opening the collection, as in the conception of the Landschafterey which occupies Runge since 1802. The question of the relation between text and image raised by the illustration therefore undergoes a profound renewal. But, though in theory they appear to agree, the realization of the work discloses deep divergences between the two men, and its publication will put the seal on their break-up.
Le décor du livre dans les concours organisés par les revues d’art décoratif entre 1893 et 1912
Authors: Moraud Sophie 
Published: June 2021

Book decoration in the decorative art competitions organized by art magazines between 1893 and 1912.
From 1893 until 1912, the major art magazines in France (Art et décoration, L’art décoratif and, on a lesser scale, La Revue des Arts décoratifs), in England (The Studio) and in Germany (Deutsche Kunst und Dekoration) organized a series of decorative art competitions. Their themes were most varied (interior decoration, miscellaneous objects, textiles, ceramics, etc.) : they aimed at compensating the weaknesses of the education given to young artists by allowing them to be confronted with the restraints of industrial production. The graphic arts, in their most varied aspects, formed the subject of nearly half the opened competitions — of which about fifty concerned book decoration. Illustration — ornaments for chapter heads and tails, or tailpieces and full-page images — were the Studio's special field ; ex-libris being shared between German and English magazines. On the other hand, letter design, flyleaf papers and cover’s composition for these very magazines were also proposed by the French magazines, and the winning projects were more often than not used by the periodicals. The number and diversity of these competitions shows the important place taken by the books in Art Nouveau’s decorative research.
Témoignages sur l’enseignement de la gravure à l’École nationale des beaux-arts, 1945-1955
Authors: Humbert Laurence 
Published: June 2021

Recollections about the teaching of engraving in the Ecole Nationale des Beaux-Arts from 1945 to 1 955.
In 1945, the teaching of engraving was reorganized in the ENSBA, with two ateliers : line-engraving and etching, headed by two professors : Robert Cami, master engraver, and Edouard Goerg, artist, engraver and aquafortist. The recollections of two former pupils, Maurice Chot-Plassot and Jean Peschard, give an account of the style of their masters teaching. Imbued with the classical tradition of the ENSBA, they passed on a sensibility towards engraving, shared their preferences and, through their own work, served as examples.
According to Maurice Chot-Plassot, Robert Cami knew how to highlight and explain the technical secrets of the quattrocento masters. The range of the blacks as well as the relief resided in the line. Jean Peschard emphasizes the importance of light in Edouard Goerg’s work and in his teaching. In spite of their different educational approach, the black and white remained the rule. The Prix de Rome marked the successful conclusion of a training and the recognition of the laureate among his peers. The requirements, even the restraints of this competition (such as the figuration of a 33 centimeters nude) represented the educational pillars of the ENSBA. During their stay in the Villa Medici, the artists were given the opportunity of a reflection about the cultural heritage of their School and the contemplation of new researches (on colour and abstraction).
La mort d’Hippolyte sur un vase apulien inédit
Authors: Chevallier Marie-Claude 
Published: June 2021

The Death of Hippolyte on an unedited Apulian Vase.
Today, very few painted Greek ceramic vases illustrate the death of Hippolytus, Theseus’s son. All of them are Italiot artefacts, from Southern Italy and Sicilian workshops. The aim of this article is to study a recently discovered scene. On one of the sides of a calix-shaped krater, a quadriga driven by Hippolytus and one of the Erinnyes, an infernal spirit well known to Italiot painters, encircles a bull whose importance is emphasied by the polychromy. On the other side, a satyre and a bacchante, both of them companions of Dionysios, the God of the Theater, attest that the works of Attic dramatic poets of the 5th century b.c flourished in Greece : Aischylos, Sophokles and especially Euripides influenced Italiot painters. We suggest that this vase was produced close to an important Apulian workshop in the second half of the 4th century b.c., eventually in the circle of the Darius or the Underworld Painters.
Ambroise Dubois et les Éthiopiques d’Héliodore
Authors: Sarant Mylène 
Published: June 2021

Ambroise Dubois and the Ethiopics of Heliodorus.
At the beginning of the 17th century, Ambroise Dubois was the first artist who was inspired by the Ethiopics of Heliodorus, a Greek novel translated by Jacques Amyot in 1547 which became very well known from the 16th century on. The new iconography of the cycle, that the painter created for the Château de Fontainebleau, illustrated his closeness to the Antique text. On the contrary, a study of the decorative cycles painted in the 1630’s by Simon Vouet and Charles Poërson, in France, and by Karel van Mander the Third in Denmark, reveals that the rendering of the novel has been subjectively simplified.
Un jardin baroque à Florence : le « nouveau jardin » de la villa de Lappeggi
Authors: Meudec Juliette 
Published: June 2021

A baroque garden in Florence : the “New Garden” in the Villa of Lappeggi.
Among the gardens created in the 17th century in Florence, the garden of the Lappeggi Villa is an outstanding example of the baroque style. And, although few studies have been carried out on gardens in Florence during that period, documents from the Medici archives have enabled us to reconstruct this work with a certain accuracy, the different steps of its construction, the elements it implied and, what’s more, to identify the artists responsible for its construction - thus, underscoring the extreme importance of the workshop. The garden was commissioned by Cardinal Franco Maria de Medici, the brother of Cosmo the Third, and the work is recorded as being carried out between 1697 and 1711. Antonio Ferri was the landscape architect who designed the garden and supervised the work. Two major artists were responsible for the decoration of the garden : Anton Francesco Andreozzi directed a team of sculptors among whom were Giovan Antonio Fortini, Giovan Camillo Cateni and Girolamo Ticciati, and Giovan Battista Ciceri created the stuccos.
François Lenormant (1837-1883) et la découverte des terres cuites de Tarente
Authors: Morin Christelle 
Published: June 2021

François Lenormant and the discovery of the Taranto terracottas
In 1879, F. Lenormant, an hellenistic and orientalist scholar, started researches in Magna Graecia. In Taranto, he carried out private excavations, without any archeological concern, in a place where votive terracottas were stored, which, for 90% of them, represented banqueting people. He then made an esthetic choice, keeping only 700 pieces offered to the Louvre. Then he warned the Italian authorities in charge of official excavations, impeded in their work by people who destroyed sites by scattering archeological finds abroad. At that time when archeology was in complete change, F. Lenormant appears as an innovating scientist for people revering amateurs and collectors ; but for those who attempted to raise this discipline to the rank of a science, he was merely an opportunist, lacking in the accuracy necessary to real scientific work.
Henri Focillon et le Japon
Authors: Fujihara Sadao 
Published: June 2021

Henri Focillon and Japan.
Between 1914 and 1924, Henri Focillon, then a professor of modem art history at the University of Lyon, studies Japonese art. The time when he was interested in this art is a turning point in the French historiography of Far East Art, after Japonism. The characteristics of his works are two-fold : on the one hand, theoritically speaking, Focillon applied formal analysis to japonese prints, in order to distinguish himself from the numerous amateurs in this art.
On the other hand, historically and ideologically speaking, he established a new conception of the history of Far East art, owing to the development of political relationships between Asia and Europe. The results obtained by later orientalists compel us to consider Focillon’s works as subjective but, by investing time so early in Japonese studies, he contributed to the historiography of Far East art, even before the creation of this subject.
Les commissions coloniales rattachées au Comité des travaux historiques et scientifiques
Authors: Leroy Rodolphe 
Published: June 2021

The colonial Commissions connected to the Comité des travaux historiques et scientifiques.
In the late nineteenth century, the Comité des travaux historiques et scientifiques became a bigger and bigger research organization, always closely linked to the successive political governments. With each new French conquest, a commission of parisian scientists and local correspondents was created and attached to it, as in 1864, the scientific commission for Mexico, in 1884, the commission for Tunisia, in 1908, the archeological commission for Indochina. The example studied here is that of the commssion for Tunisia, which coordonated researches in archeology and epigraphy in North Africa, thanks to the support of the Army. The action of this scientific institution in a colonial background enables us to bring to light the power at stake in historical monuments. For instance, the protection and valorisation of the archeological site of Carthago is the object of a conflict between the administration and the civil sociéty of which a non professional archeologist Louis Carton is the main actor. The commission for Tunisia has to be the arbitrator in this quarrell ; generally speaking, it is the forerunner of the archeological services which will be instituted in 1942 under the care of Jérome Carcopino.
L’Académie des beaux-arts de Saint-Pétersbourg et les sections artistiques russes aux expositions universelles de 1862 à 1900
Authors: Mojenok-Lloveras Tatiana 
Published: June 2021

The Academy of Fine Arts in Saint-Petersburg and the organization of the Russian artistic sections at the World Exhibitions between 1862 and 1900.
The Academy of Fine Arts in Saint-Petersburg was called upon to choose the works selected for the artistic sections of the World Exhibitions of 1862, 1867, 1878 and 1900, a choice whose aim was to show the existence of a Russian school. Though there was no response in London in 1862, French criticism in 1867 noticed such painters as, for example, Vassili Perov. The creation of a Society for travelling art exhibitions (called « les Ambulants » in French), and the action of collector Paul Tretiakov strengthened the realistic characteristics of Russian painting by imposing these paintings, welcomed by French critics en 1878. However, this selection of realistic works did not prevent the emergence of more moderate personalities like Serov or Korovine and the landscape painter Levitan, who paved the path for Diaghilev’s « Russian Ballets ».
La « chapelle de France » à Lavelanet : un décor sous le régime de Vichy
Authors: Ducourau Bertrand 
Published: June 2021

The « chapelle de France » at Lavelanet : a set of paintings under the Vichy government
The church of Lavelanet, in the Ariège department, keeps two huge paintings executed in 1942-1943 by Reynold Arnould (1919-1980), constituting the « chapelle de France ». One of them shows the Virgin Mary with French women saints and the other, the homage paid to a dead soldier by the heroes of French History, among them the Maréchal Pétain. The unusualness of this perfectly preserved set of paintings led to their classification among the Monuments historiques in 1998.
Alexandre-Évariste Fragonard, dessinateur de costumes pour l’Opéra de Paris
Authors: Duffeix Rebecca 
Published: June 2021

Alexandre-Evariste Fragonard (1780-1850) was appointed as a dress designer for the Paris Opera on March 25th 1824. He contributed for operas and produced a lot of models, in an orientalising style, for two fantastic operas, fairy tales mixing heroism to the marvellous, Les deux Salems and Zemir et Azor, and in a «troubadour »mood for two lyrical works,
Richard et Zoraïde and La dame du lac. This decorative vein was related to a recent trend in the paintings of the artist. His experience as a designer, his taste for the theatre and, above all, his knowledge of historical dress probably explain the reasons for his being appointed. However, Fragonard only assumed this position for a few months, for deep financial dissensions opposed him to the administration. The decision to replace him occurred in November 1824 and was applied as early as the following January.