bluuebunny/crossref_metadata_2025_split huggingface dataset:
Maurice Denis : des métamorphoses d’Éros à Clio
Authors: Genty Gilles 
Published: June 2021

Maurice Denis : the Metamorphoses of Eros to Clio.
Maurice Denis (1870-1943) became famous through his theory of « synthesis » which, from 1890 on, led to the threshold of abstraction. On the other hand, a deeper study of his work’s themes has been neglected. Profoundly attached to the sensuality, which was initially repressed and later found transcendence in the symbolic register, these themes originate in the desire for the loved woman. Meanwhile, Denis evolved towards an iconography where the profane and the sacred are combined. Around 1910-1920 his theory itself came closer to Thomist philosophy and he adhered to the renewal of scholasticism encouraged by Pope Leo XIII. Denis’ Christian iconography is inscribed in a historical, philosophical and literary context which privileges comforting themes. In this way, the artist’s passage from sensual icons to devotional paintings might be explained.
Les chapiteaux romans de Saint-Pierre de Champagne (Ardèche)
Authors: Cabrero-Ravel Laurence 
Published: June 2021

L. Cabrero-Ravel : The Romanesque Capitals of Saint-Pierre de Champagne m the Ardèche.
The 82 capitals of the romanesque church of Saint-Pierre de Champagne in the Ardèche form a coherent ensemble whose evolution follows the construction of the building itself. At the source of this program is the freely interpreted Corinthian capital to which the sculptor has added elements from the composite tradition. Acanthus has slowly been replaced by a richer and more monumental smooth leaf. The main influence for the sculpture of these capitals comes from the Auvergne. A likely date for the beginning of the construction is the first half, or more precisely, the second quarter of the 12th century.
La fonction funéraire du narthex dans les églises byzantines du XIIe au XIVe siècle
Authors: Bache-Fénelon Florence 
Published: June 2021

F. Bache : The Funerary Function of the Narthex in Byzantine Churches of the 12th to the 1 4th centuries.
Churches without narthexes have been built in all periods. However, when present, a narthex should not be considered as an addition, like a chapel. With the naos and the hema it represents an essential element of a Byzantine church. Unlike funerary chapels, which were specialized, the narthex’s funerary purpose was only one of its functions. As a place of burial, it was reserved for the great churchmen and some laymen, such as founders and benefactors. Funerary preparations and commemorations of the dead also took place in the narthex. Texts which mention narthexes, however, provide great diversity of details concerning their function.
Un mouvement pictural maniériste sous les derniers Antonins et les Sévères
Authors: Belot Eric 
Published: June 2021

A manierist trend in the wall-painting during late Antonine and Severe periods.
The archeological discoveries made recently in Gaul and Brittany have drawn the attention on Gallo-Roman mural painting of the 2-4th centuries. A renewal of ostentatious decorative genres is to be noticed during the late Antonine and Severe periods (fictive architecture and marble ornementation ; big size figures). This style can be called « manierist », insofar as it combines, often without seeking any cohesion, quotations borrowed from the former decorative vocabulary. It expresses the will to secure the durability of romanity in a period of crisis, according to a phenomenon recurrent in the history of Roman art. Thus one has to abandon the traditional conception of a biological evolution of the Roman pictorial craftsmanship : far from having sunk in an irremediable degeneration after the 1st century AD, it experienced at the end of the 2nd century and the beginning of the 3rd century a renewal the importance, scale and modalities of which we are only beginning to measure.
La Trinité-des-Monts à Rome : les décors du cloître (1580-1620)
Authors: Balsamo Isabelle 
Published: June 2021

The Trinita al Monte in Rome : the ornementations of the cloister (1580-1620).
The cloister of this convent of Minimes was ornementated from 1579 with 38 frescoes illustrating Saint-François de Paule’s life, by ten or so Italian artists : Marchetti, Lombardelli, Nogari, Cati, Massei, Roncalli and young Cesari.
Completed and engraved in 1584, with elegant didascalies by Muret, this decoration, patroned by Gregory XIII and its circle — it served their reformist views — became at once famous and was imitated. With its Quattrocento forms renewed by a language meant to move and instruct, it constitutes a panorama of Roman taste and craftsmanship at the end of the 1 6th century. Other decorations were still ordered to Nucci between 1616 and 1629 : a gallery with the kings of France and a ceiling, celebrating the royal protection attached to the convent since its foundation.
Deux maîtres serruriers toulousains au XVIIIe siècle
Authors: Peloquin-Cavaillé Danielle 
Published: June 2021

Two master ironsmiths in Toulouse in the 18th C.
The art of ironworks developed in Toulouse from the 17th C. to the end of the Ancien Regime, particularly because of the good quality of the raw material coming from the Valley of the Ariège. As a political, commercial and religious center, the town then enjoyed a prosperity which was of benefit to the fitting out of churches, mansions and urbanism in general. The author studies the eventful career of two master ironsmiths belonging to two different generations, the achievement of whom corresponded to the taste of well-to-do magistrates and powerful ecclesiastics. The style of the decorations by Bernard Ortet (balcony railings, gates, banisters...) can be associated with the taste for arabesque, characteristic of the rococo. Joseph Bose achieved works very quickly famous outside of Toulouse (railings, banisters) ; his style can be called « eclectic », integrating personal motives to the « Louis XV style » and the more geometric motives fashionable under the reign of Louis XVI ; the development of his work reveals the evolution of the ornemental repertory during the second half of the 18th C.
Hypnos et Thanatos sur les vases attiques (520-470 av. J.-C.)
Authors: Mintsi Efthymia 
Published: June 2021

Hypnos and Thanatos on Attic vases (520 to 470 B.C).
Sleep and Death carrying the body of a dead hero are represented on ten Attic vases ; four, dating from 520 to 500 B.C. are red-figure vases, six others, from 500 to 470 B.C. are black-figure vases. At a later date, these spirits appear only on lecythi with a white background, bearing the body of a common mortal. The study of various secondary iconographical elements enables us to identify the moment and the place of the scene depicted. The identity of the dead hero is variable : in three cases, first of all, it is Sarpedon, and on four other vases it is Memnon.
La sculpture en céramique de Gauguin : sources et significations
Authors: Hirota Haruko 
Published: June 2021

Gauguin’s ceramic sculptures : sources and meaning.
To explain Gauguin’s earliest ceramic works, Japanese and Peruvian influences are often evoked. Although these are by no means absent, they do not suffice to explain certain forms. The heavily-charged decorative elements seem in fact to be inspired by the 1875 publication, Histoire de la céramique, by Auguste Demmin, illustrated by Arosa who was Gauguin’s tutor. Gauguin was apparently sensitive to the Renaissance and Medieval taste for the fantastic, and the inspiration for his ceramic works seems to correspond with a nineteenth-century notion of the grotesque.
Controverses sur l’aménagement d’un musée des Arts décoratifs à Paris au XIXe siècle
Authors: Froissart Pezone Rossella 
Published: June 2021

Controversy around the organization of a museum of decorative arts in Paris during the nineteenth century.
The idea of a museum of decorative arts is closely linked to the new awareness of the radical changes witnessed during the nineteenth century in industrial production and in the relations between industrial and artistic production. The earliest projects for the museum insisted on the pedagogical aspects of the presentation, designed to educate public taste and that of artists and workers in particular. The author of this article studies the different projects which followed one another during the nineteenth century, beginning with that of Amédée Couder and Jean Feuchère towards the end of the 1840s. Via the museum — comprising a school, a library, a collection of plaster casts, etc. — , this project aimed to train the artists of the new industrial era. In 1852 the sculptor Jules Klagmann presented a report on the art industries in France, but this report had no results. In 1873 the architect and engineer J . Gabriel Davioud suggested that a collection should be integrated into a new school of applied arts. The « Union centrale des Beaux-Arts appliqués à l’Industrie » (central union for fine arts applied to industry) already had the beginnings of such a collection and in 1877 the « Société du Musée des Arts décoratifs » was founded to install this collection in the Palais de l’Industrie at Paris. Henceforth the discussion was essentially concerned with how the collection should be classified and how the pieces should be presented. The article examines the projects put forward by Louvrier de Lajolais and Georges Lafenestre in 1877 and by Georges Berger in 1878, this last aiming at a « professional museum ». In 1886, finally, Germain Bapst suggested a classification by ensembles and the organization of the subject matter into sections, taking into account the tastes of a public which was no longer limited to one of artisans and workers. When the museum finally opened in 1905, its presentation was consequently closer to that of traditional fine art museums and the different projects with exagerated technological implications had been forgotten.
Vitrail civil et décoration intérieure à Lyon au début du XXe siècle : Auguste Morisot
Authors: Amaz Jacques 
Published: June 2021

Non-religious stained-glass and interior decoration in Lyons at the beginning of the twentieth century : Auguste Morisot.
Auguste Morisot (1857-1951) was born at Seurre (Côte-d’Or) and was present in Lyons from 1876 on. He attended the art school there in order to become a designer for the Lyons silk industry. His original character led him, in 1886, to join a mission of exploration in the valley of the Orinoco, an adventure from which he returned with numerous drawings and water-colours. The author of the present article examines Morisot’s artistic activities as a decorator, particularly in the interior decoration of the town house at Lyons belonging to Monsieur Neyron de Champollon, owner of the Rasurel firm. This commission involved all the interior decoration, woodwork and furniture included. But the artist’s career is most remarkable in the field of the stained-glass pieces — both for churches and for civil settings — which he created between 1898 and 1919. The evolution of Morisot’s style here is interesting. He seems to hesitate between an early style of realism and intimism, dear to the artists of the end of the century, and one of decorative abstraction, foreshadowing Art Deco. This is the style which finally predominates.
The study of the archives of the stained-glass workshop of Nicod where Morisot worked shows the importance of the role of the cartoon designer in the process of producing a stained-glass window, a role which is often ignored by historians. The interior decoration of the house of Neyron de Champollon, between 1902 and 1907, is typical of French Art Nouveau, where the decoration is conceived as a whole but is still decidedly artisanal in its realisation and far removed from any ideology of a social art.
Morphologie des théâtres de la Grèce antique
Authors: Moretti Jean-Charles 
Published: June 2021

The morphology of theatres in ancient Greece.
The archaeological study of Greek theatres, which is today witnessing a rather belated upsurge of activity, leads to a substantial modification of our traditional ideas of what Greek theatres were like. These ideas were based up to now on the study of texts — mainly Attic ones — , and on the observation of a few Hellenistic or Roman sites. The oldest theatres known, dating from the fifth century B.C., do not have a building for the stage and the stepped rows of seats are often rectilinear. It is only towards the end of the fourth century that the theatre was defined as a building type, at a time when the theatre as a literary and socio-religious phenomenon was already moribund. On account of the absence of amphitheatres in Greek cities, their theatres were transformed during the imperial period to accommodate Roman spectacles such as gladiator combats and hunts.
Projets d’un grand théâtre à Toulouse au XIXe siècle
Authors: Capella Marie-Laure de 
Published: June 2021

Nineteenth-century projects for a large theatre in Toulouse.
At the end of the eighteenth century Toulouse, unlike Paris and other provincial capitals, boasted no monumental theatre, but only multi-purpose halls, the most important of these being located, from 1736, in one of the wings of the Capitole, the town hall of Toulouse. In 1808 Jacques-Pascal Virebent, the town architect, drew up a project for a new theatre, but the imperial authorities prefered to undertake the restoration of an existing one. The new theatre hall which still exists in the Capitole was designed by Jacques Cellerier and finished by Guy de Gisors between 1816 and 1818, but only as a temporary solution.
In 1844 the local authorities organized a competition, won by the architect Esquié, but this project for a new theatre was not pursued. It was only in 1876 that a new project, linked with the completion of the Capitole, was undertaken by Auguste Dieulafoy.
This theatre was opened in 1880, but it burned down in 1917. The paradoxical conclusion of this chronicle : the provisional solution lasted longer than the permanent one.
Refuges d’illusions techniques : deux salles de cinéma de Paul Auscher
Authors: Vetter Andreas K. 
Published: June 2021

Houses of scenic illusion : two cinemas built by Paul Auscher.
The architecture of cinemas at the beginning of the twentieth century was still close to that of meeting rooms or concert halls. Their owners were not always convinced that the new entertainment form would be a lasting success and wanted to be able to reconvert the premises should the cinema prove to be a flop.
But this situation evolved very rapidly. The new cinema built by Auscher in 1913 in Paris (rue La Condamine, in the 17th arrondissement, today demolished) had a rectangular floor plan with rows of seating in line. The creation of a balcony supported by reinforced concrete pillars is an innovation compared to traditional theatre architecture. In 1919, Auscher’s second cinema building, the « Marcadet-Cinéma-Palace », in the me Marcadet in the 18th arrondissement (also demolished today) had a trapezoidal plan with seating layed out concentrically. The theoretical treatises on cinema architecture dating from before the First World War and just after it allow the technical specificities of the new building type to be remarked upon, particularly in the way they differ from buildings for other types of spectacle. The place of the orchestra, the visibility of the screen, security measures against fire risks are some of the problems calling for new solutions. Similarly, the importance of the vestibule, the foyer-bar and the cloakroom are not the same in a cinema as elsewhere. Auscher’s solutions to these problems are interesting ones and his façades reveal a significant evolution from the point of view of their ornamentation. His first cinema is richly decorated, corresponding with a desire for an «advertising » façade. The formal simplification of the years 1910 to 1914 is to be seen in the façade of the « Marcadet-Batignolles-Palace », Auscher’s last building which also demonstrated his skill in putting the resources of reinforced concrete to work.
Dix années d’éducation populaire artistique à Lyon : « L’arc-en-ciel », 1947-1957
Authors: Maréchal Françoise 
Published: June 2021

Ten years’ popular artistic education at Lyons : « L’Arc-en-Ciel », 1947-1957.
The history of the « Arc-en-Ciel » (rainbow) association which was founded at Lyons in 1947 is part of a broader movement in favour of a democratic and decentralised artistic education, dating back to the initiatives of the Popular Front and of the « Jeune France » (Young France) movement. The period from the Liberation up to the creation of the Maisons de la Culture by André Malraux during the 1960s is often neglected. The study of the activities of an association such as the « Arc-en-Ciel » shows both the dynamic attitudes of certain provincial art critics like René Deroudille at Lyons, and also, in contrast, the relative lack of interest for contemporary art shown by local authorities.
The « Arc-en-Ciel » association was inspired by the example of « A cœur joie », a choral society of which Mme Reine Bruppacher was secretary. Both Reine Bruppacher and René Deroudille aimed to make the general public more familiar with art. A method which was successful in music could also be applied to the plastic arts, through a better understanding of the techniques and the history of art and by a greater familiarity with the world of the contemporary arts. The association organised visits to artists’ studios, lectures by art critics, guided tours through Romanesque Burgundy arid visits to exhibitions of contemporary art at the Saint-Pierre Museum in Lyons. Its most exciting innovation, however, was the organisation of its own exhibition of contemporary art and the setting up of workshops of artistic techniques during the Choralies of Vaison-La-Romaine between 1953 and 1962. The question of contemporary town planning was also dealt with, notably in visits to modern churches in the Franche-Comté region or to new housing developments around Lyons.
The organisation was entirely run by volunteers, and the lack of any financial aid was the obstacle that finally led to its demise. In general terms, the history of this experiment allows us to draw attention to the dynamic policies of certain provincial museums during the 1950s (museums such as the Saint-Pierre Museum at Lyons, run by René Jullian) and to underline the reticence of local authorities to become involved in cultural programmes dealing with contemporary art.
Jason monosandale sur le cratère de Dervéni
Authors: Gaggadis-Robin Vassiliki 
Published: June 2021

The one-sandalled Jason on the Derveni crater.
This study deals with the maenad and the man wearing only one sandal, depicted beneath one of the handles of the Derveni wine crater. The study shows that these two figures reproduce a prototype (from official painting ?) dating from the last quarter of the fifth century B.C. The one-sandalled figure, hitherto identified as Pentheus or as Lycurgus, seems to possess the attributes of Jason, the Thessalian hero (one sandal, two lances, petasus). Implicitly, it could even be a portrait of Astioun from Larissa (in Thessaly), the original owner of the vase according to the inscription which figures on it. This owner borrows the attributes of one of the ethnic heroes coming from his own country. As for the maenad, this representation seems to be inspired by the iconography of Medea, at the moment of the infanticide.
Le guide, la curiosité et la galerie du Palais-Royal
Authors: Madrus Françoise 
Published: June 2021

Guidebooks, curiosities and the Palais Royal Gallery.
Germain Brice’s Description of Paris, first published in 1706 (several subsequent editions, slightly modified, up to 1752), gives a brief description of the collection of paintings belonging to Philippe d’Orléans. A more detailed description is to be found in 1719 in the Curiosités de Paris by Georges-Louis Le Rouge. The subsequent editions of this book, in 1733, 1742, 1771 and 1778, even give an authentic catalogue of this collection.
The interest in this collection is confirmed by the guides published by J.-A. Piganiol de La Force (1742) and by A.-N. Dezallier d’Argenville (1749). The succeeding editions of these books allow us to follow the evolution of the contents of the collection and its disposition. The collection witnessed several periods : before and after the acquisition of the paintings belonging to Queen Christine of Sweden ; after the death of the Regent in 1723 ; and, finally, after the modifications undertaken by Philippe-Egalité.
This collection of the Duc d’Orléans emerges as a real private museum, which the guides present as an abridged history of painting for art amateurs.
This history does not deal with aesthetic issues however, centred, during the eighteenth century, on the question of the « sublime in art ». The author of the present article examines the similarities and differences from one guidebook to another, noting that only one of them actually calls itself a «guide » in its title.
Le thème de la souffrance au XVIIe siècle : l’exemple du carmel de Lyon
Authors: Gautier-Rivat Claire 
Published: June 2021

The theme of suffering during the seventeenth century : the example of the Carmel at Lyons.
The Carmelite convent at Lyons, dedicated to
Our Lady of Compassion, was founded in
1616 by Jacqueline du Harlay, under the direction
of Magdeleine de Saint-Joseph. The spirituality of
the latter is visible in the convent’s
iconographical programme, even though she was not
the direct commissioner of the work. The
study of the seventeenth-century works kept at the
convent — a sculpture and seven paintings —
shows the importance of the theme of
suffering throughout the order as a whole and in this
centre at Lyons in particular. Each of the works
examined is analysed and commented on in the light of
pious texts and quotations from the Carmelite
milieu of the period. Other comparisons are
made with the works of Le Brun and Murillo.
Le graphisme dans l’art grec
Authors: Holtzmann Bernard 
Published: June 2021

Graphic aspects of Greek art.
The importance of the graphic aspects of Greek art has been largely underestimated, partly because of modern terminology, which is of inadequate precision. The practice of drawing, in the form of engraving rather than as simple drawing, and whether on stone (inscriptions, sculpture and architecture), on metal (toreutics) or on ceramics, was fundamental to the history of Greek art and to the elaboration of « classic » aesthetics.
L’artificialisme de Štyrský et Toyen : affinités et divergences
Authors: Caille Françoise 
Published: June 2021

Styrsky and Toyen and their artificialism ; affinities and divergences.
In Paris in 1926 the Czech painters Styrsky and Toyen founded a movement which they baptised « artificialism », setting out their objectives in a manifesto published in Prague in 1927 in the review ReD. This review was an emanation of the Devetsil group, founded in 1920, and bringing together poets and painters. According to the manifesto, art it an artifice and not a copy of reality ; it is based entirely on the imagination which is itself subordinated to remembered perceptions. The pictorial practices of Styrsky and Troyen were original. To begin with they were based on the use of stencils, objects being used as the stencils. Subsequently the materials employed developed, sand being mixed with the pigments, and so on.
The author gives a detailed study of the careers of the two artists between 1927 and 1931, both of them returning to Prague in 1929. The affinities of the 1920s are gradually replaced by creations of a more personal nature. Styrsky and Troyen did not join the surrealist movement until 1934.
Nethertheless, the author considers the year 1931 as marking the end of the practices and aesthetics of the artificialist movement. In 1932 both artists participated in the organisation at Prague of an International Exhibition where Breton’s surrealism was much to the fore.