bluuebunny/crossref_metadata_2025_split huggingface dataset:
Louis Hautecœur, directeur général des Beaux-Arts (1940-1944)
Authors: Brucculeri Antonio 
Published: June 2021

Louis Hautecœur, Directeur des Beaux-Arts (1 940-1944)
This article highlights the main features of the activity as a « Directeur des Beaux-Arts » of the art historian Louis Hautecœur under the Vichy government. The cultural project which motivated Hautecœur from the 1920s. concerning various fields : the teaching of art and architecture history, museography, museology, preservation of the Heritage, discussions about contemporary architecture led to the governmental experience of the 1940s. To keep up this feeling of continuity, the article shows the parallelism between the cultural project of which Hautecœur was at last an actor, and the historiographic project of which he was himself the creator, dealing with the strict reconstitution of the cycle of the history of classical French architecture. Hautecœur who deals with « beaux-arts » as an historian, is now going to do it as a civil servant. So is underlined the role he attributed to the relationship between Art and the State. The stakes of Hautecœur’s. cultural project, that is mainly the idea of the defense of French beauty, are at the same time linked to the specificity of the Vichy period, when the overlapping of his own intellectual and professionnal career with the cultural policy of the Vichy State did not exclude political compromise.
André Hermant, un architecte-muséographe (1908-1978)
Authors: Roulleau-Simonnot Nathalie 
Published: June 2021

André Hermant, architect and museograph (1908-1970)
In the 30s, a specialist in putting up advertising stands and arranging exhibitions, André Hermant is familiar with museographic work. From the early sixties, he directs his efforts to the renovation and the building of museums, thus taking part in the budding movement of rehabilitation of the French museal Institution. Refering to the first post war Italian experiences, Hermant reformulates the museum in terms of modernization and clear presentation. However, due to the fumbling policy of renovation and the poorly defined missions of free lance architects by the direction of French museums, Hermant had many conflicts with personalities representing the Institutions (curators, architects in charge of monuments historiques). Nevertheless, Hermont leaves his stamp through brillant work in the renovation of the Musée des antiquités nationales de Saint-Germain-en-Laye the building of the Musée du message biblique in Nice. The renovation of the Petit Palais in Avignon is a difficult enterprise whose final authorship was not attributed to him, whereas the Tapestry Gallery built in Beauvais is of such modesty that it bears witness to his inability to build close to a historical monument.
Les musées de mode et leur public
Authors: Join-Diéterle Catherine 
Published: June 2021

Catherine Join-Diéterle :
Fashion museums and their public.
The writer, in charge of the Galliera Museum in Paris, wonders about the increasing lack of interest of the French public for fashion museums, which suffer from their indefinite situation between decorative arts and society museums : they know difficulties specific to the presentation or exhibition of objects. Different means are suggested to bring the public back to the museums and, in particular, active relationships between museums and the new creators of today’s fashion.
Parure et critique sociale : à propos de feuilles en éventail de la première moitié du XVIIIe siècle
Authors: Letourmy-Bordier Georgina 
Published: June 2021

Often decried by moralists, fashion and women are the subject of three fan sheets dated between 1730 and 1734, and preserved in the Print Department of the BnF (formerly in the Richelieu collection)
These etchings, conceived as «trompe-l’œil », associate songs, puns and pictures, suggesting a theme given by their titles : «La Coquette »,
L’ Allure ». Through references to the theatre or religious events appear some hints to dissolute life.
In a general way, usurping of clothes from another social class is strongly condemned. Dress becomes a mask that anybody can use in everyday life, to the detriment of high society. Therefore it is an attack against actresses and financiers, probably from the aristocracy and, particularly, from circles belonging to the second «préciosité ».
Physiologie du gilet
Authors: Zazzo Anne 
Published: June 2021

The waistcoat is an essential piece of a man’s wardrobe in the 19th century and is, sometimes, the most flamboyant one. But its history is not well known. The article establishes a parallel between the directions of fashion magazines and tailors’bills — which are the sources of information-and the waistcoat collection of the Galliera Museum, in order to define the tastes of dandies or ordinary citizens.
Its aim is to show how production evolved ; what are the specific materials, who makes waistcoats, how do the prices of this garment, the epitome of elegance, fluctuate.
L’animal dans l’art
Authors: Poplin François 
Published: June 2021

Animal in Art.
This article is a previous thought, founded on language, on what is an animal : what are the words that define it, from ancient Greek (the animal is, first of all, what runs around) down to vernacular ? The animal, in several languages, is something else than just meat for consumers. What’s more, its distinguishes itself from the vegetal, which is motionless and unable to have any physical activity. Some animals are close to the human being, as shown by linguistics and comparative anatomy. The capacity of animals to make sense is illustrated by ideography which benefits from the meaning attached to the mental image of the animal.
However, if man can use as tool the animal via art, the reverse cannot be conceived, for it has no access to artistic creation. Anyway, the animal can’t be reduced to matter, for it is form and not matter.
La petite ronde-bosse animalière en métal chez les Celtes
Authors: Vial Éloïse 
Published: June 2021

Small Celtic metal animals in the round.
The discovery of metal animals in the round concerns the whole of temperate Europe. They are small sized pieces, mostly in bronze. The Celts selected the animals to be represented. Thus, among species identified by archeologists, a few are shown : birds, horses, cattle, deer, wild boars and a few dogs. The artefacts bearing a zoomorphic decoration are varied : ornaments and implements such as vessel clips, knife handles, roasting spits, poles. The archeological context of their discoveries is linked to the sacred, cemeteries and sanctuaries. Animal figuration is characterized by a strong stylisation of shapes, far from the realistic representation of the roman period. The study of these small finds aims to stress the relationship the Gaelic society used to have with the images of specific animals.
Le coyote dans l’iconographie mésoaméricaine, de 200 ap. J.-C. jusqu’à la Conquête
Authors: Allain Ariane 
Published: June 2021

The coyote in Central American iconography (from 250 A. D. to the conquest).
The coyote, an animal specific to the American continent, drew the attention of Indian people from prehistoric times and is still present to-day in the symbolic world of some North American tribes. The artistic production of Central American culture, from the Classical Period (200-900 A.D.) is an excellent evidence of this particular interest : indeed, the coyote is present on a great variety of artefacts : wall paintings, sculpture, pottery and feather works. The violent image developed around the animal is surprising, since the coyote is far less aggressive than other animals of prev : jaguar, wolf or puma. Realistic figuration seems to refer to certain norms, with slight differences according to the cultures. Since the Teotihuacan period (200-750 A.D.), the animal seems to he symbolically related to fertility and war.
L’influence de L’Encyclopédie sur l’édition illustrée au Portugal : la Maison littéraire de l’Arco do Cego (1799-1801)
Authors: Figueira de Faria Miguel 
Published: June 2021

The influence of the Encyclopédie on illustrated books in Portugal : Casa Literária do Arco do Cego (1799-1802)
The aim of this article is to show the role of Casa Literária do Arco do Cego, a Portuguese publishing house at the end of the eighteenth century, which enjoyed Royal patronage, and in which the publication of illustrated books figured prominently. The article explains the integrated working process of the various workshops of the House, focusing particularly on the role of image in the editorial process, which was used not to embellish luxury editions, but for didactic purpose. In this context, special attention was paid to the visual sources which served as models, highlighting the major and direct influence of the French Encyclopédie, namely through the copies of the planches of Panckoucke’s version.
Une appropriation de l’image de Poussin sous le Consulat et l’Empire : Pierre-Marie Gault de Saint-Germain (1756-1842)
Authors: Murgia Camilla 
Published: June 2021

The biased image of Poussin rendered by Pierre-Marie Gault de Saint-Germain (1756-1842)
Under the Consulate and the Empire, special attention was focused on Nicolas Poussin. At the head of the French School and a model of classicism, he was at the source of numerous studies and publications, which reached a climax with the tendentious edition of the painter’s letters by Quatremère de Quincy in 1824. A little known episode of this reception concerns an outstanding scholar of the time, artist, connoisseur and theorist Pierre-Marie Gault de Saint-Germain. The article describes the strategy used by Gault and his contemporaries to reshape the image of the great painter and turn him into the model for the modern French School.
L’eau-forte « mobile » dans l’évolution de l’estampe originale à la fin du XIXe siècle. Expériences françaises et italiennes
Authors: Dinoia Rosalba 
Published: June 2021

Mobil etching in the evolution of original print of the nineteenth century. French and Italian experiences.
From the 1870’s, the phenomenon of “mobil etching” underwent technical experiments which characterize the renewal of the world of etching, chiefly those conducted in the midst of avangardist movements, the Impressionists en France and the Scapigliatura milanese in Italy. A few artists went as far as transforming etching which, from an object implying a series, became an unique work of art and made the most of the paradox of the multiplication of an unique artefact, obtained by the continuous variations of inking up. As regards the French, Ludovic-Napoléon Lepic wrote in 1876 Comment je devins graveur à l’eau-forte ; as regards the Italians, two generations later, Vittore Grubicij de Dragon confirmed the findings of the modern etching with his essay, L’acquaforte nell’arte moderna (1895). We may wonder about the real motivations which led this generation to be so interested in this technique and how the two groups arrive to the adoption of an identical process without entertaining any relationship and starting from totally different historical and cultural bases. What appears as a common denominator is the introduction in esthetical values of a concept of time relativity, to which the world of etching answers in a more significant manner than other kinds of Art.
Between Art and Ethnography: Michel Leiris and the Sculpture of Alberto Giacometti
Authors: Kelly Julia 
Published: June 2021

Entre art et ethnographie : Michel Leiris et la sculpture d’Alberto Giacometti.
Dans ses écrits sur l’art, Michel Leiris a occupé une situation inhabituelle, se trouvant à la fois étroitement associé à nombre d’artistes et ethnographe de profession. Cet article examine le développement d’une approche « ethnographique » de l’art dans les écrits de Leiris, par une lecture attentive de son essai de 1929 sur Giacometti, paru dans Documents. Il montre comment ce texte marque un décalage par rapport aux préoccupations de Leiris dans les années vingt au profit d’une conception de l’art dans laquelle le spectateur, dans ce cas l’auteur lui-même, est inévitablement impliqué. L’article souligne l’importance du texte de Leiris par rapport à sa conception particulière de la sculpture. Son essai sur Giacometti qui insiste sur le toucher et le contact physique, s’écarte d’une manière frappante du principe moderniste de l’autonomie de la sculpture.
L’art colonial, entre orientalisme et art primitif. Recherche d’une définition
Authors: Jarrassé Dominique 
Published: June 2021

Colonial art between orientalism and primitive art : in search of a definition.
The notion of colonial art, common at the beginning of the 20th century, is not a well integrated field in the history of art ; to make it less disturbing, it is sometimes reduced to the production of travelling artists ; however, a broader definition would enrich an approach of miscellaneous artefacts by bringing it closer to history and anthropology, whose analysis only too often makes a point of denouncing ideology and ethnocentrism. Born from the 19th century orientalism, the notion came to associate primitive and native arts controlled by settlers with the usual production of modern exoticism, two forms of art which tend to make one. But, just as Angkor or Moroccan crafts, would not it be better to annex primitivism, as a form of colonial art, to the field of French art ? Isn’t it time to acknowledge that this hateful colonialism could give birth to masterpieces, such as Jannot’s low relief at the Musée des Colonies in the 1931 Exhibition ? One has to face the difficulties and delve into a knowledge of these productions, whether academic or avant-garde, of the ordering institutions and of artists, of their iconographic and ethnologic themes.
Voyages en Italie des artistes du Nord (1500-1800)
Authors: Garms Jörg 
Published: June 2021

Northern artists travelling in Italy (1500-1800).
In the period extending from the re-discovery of classical Antiquity, with the flowering of the Italian Renaissance, to Neo-classicism, travelling to Italy never ceased, but, considering its chief purpose, i.e. the acquisition of the “ Grande Manière ”, it culminated both at the beginning and the end of this period. In-between, the desire to make a living in Italy by resorting to Northern specialities — applied arts, engraving, landscape painting, genre, still-life and portrait — nearly equalled to the main goal. Rome was the principal destination for the “ Grande Manière ” ; otherwise, the artists could sojourn in the princely courts and trading cities. Initially, the travels could be assimilated to the wanderings of craftsmen, later on, they were subsidized by princes, comunities or private patrons or organized by Academies. These numerous travels usually lasted from three to five years but could eventually extend to about twenty years.
Les illustrations de l’Insulinde dans l’Histoire générale des voyages de l’abbé Prévost (1746-1759) : vérité et ressemblance
Authors: Njoto-Feillard Hélène 
Published: June 2021

Indian Archipelago as illustrated in Abbé Prévost's Histoire générale des voyages : truth and likeness.
The Histoire générale des voyages (1746-1759) knew an outstanding fame until the second half of the 19th century. Its author, Abbé Jean Prévost, was appointed by the Minister of the Navy Maurepas and by the Chancelor d’Aguesseau to oversee the translation and adaptation of this encyclopaedic project, which exerted such an influence on Rousseau, Voltaire, Abbé Raynal or Diderot. The plates, under the direction of C.N. Cochin the Young, largely contributed to the success of the book, even if the study of the illustrations of Indian Archipelago reveal an inaccurate approach, dictated by Prévost himself. Indeed, the level of truth, the richness of invention of the artists, as well as the refined etchings, give the impression of scenes taken on the spot, so that the demands of likeness come second to those of entertainment.
Alexandre Bida : un Orient en noir et blanc
Authors: Malembits Michèle 
Published: June 2021

Alexandre Bida : A Middle East in black and white.
The works of Alexandre Bida (1813-1895), one of the pupils of Delacroix, were mainly inspired by four travels he made in Orient between 1843 and 1860. His originality is to be found in his choosing drawing, exclusively and, somewhat paradoxically, which choice proved to be in total adequacy with his iconographical tendencies. Breaking with orientalism and its picturesque, he is one of the first to adopt an ethnological approach, sensitive to the human touch, and to the different social and ethnic components. The need for the authentic leads him to reveal an aspect of the Orient often neglected by travelling painters : religion. He makes a point of showing Muslim in prayer or Jews in front of the Wailing Wall with a great regard for these communities. His good knowledge of Middle East enabled him to participate in the travel review Le
Retour d’Afrique, portrait d’explorateur : autour de l’expérience d’Henry Morton Stanley
Authors: Leduc-Grimaldi Mathilde 
Published: June 2021

Back from Africa : Portraits of an explorer, Henry Morton Stlanley.
Thanks to the portraits of Henry Morton Stanley, made under his control, a new iconographie type is born : the explorer in Central Africa. The widespread diffusion of photographs meant for individuals or magazines, their frequent reproduction on the front pages of his books of adventures, establish his reputation as a star in the society of his time. The first pictures of the explorer feature him as a big game hunter. Later, they underline the work of the reporter and scientist. Finally, the military attitude prevails ; his posture becomes swaggering and his clothes borrow more and more from military uniforms. The head-gear will remain the only distinctive mark of the explorer.
André Joubin à Constantinople : un chargé de mission au Musée impérial ottoman (1893-1894)
Authors: Du Crest Xavier 
Published: June 2021

André Joubin on a special mission in the Ottomon Imperial Museum (1893-1894).
The Turkish journey of André Joubin (1868-1944) on a mission as a deputy heritage curator at the Ottomon Imperial Museum in Constantinople puts the Middle East journey to the test of modernity ; it is a turning point in the artistic and scientific relations between the two countries and, in a more general way, in the Eastern travel experience. From the middle of the 19th century, French artists or official representatives follow each other in Turkey and their presence tends to be permanent, for the greater renown of France. As a representative of French museology and archeology in Turkey, André Joubin acquired a great insight in the men as well as in the history and art of their country and perhaps was one of the first French Turkish scholars. Nonetheless, his mission highlights how hard it was for Europe to admit the part the Turks played in the construction of their own heritage and how disturbing it was to face a local competence.
Fujita Tsuguji, Ce qu’il faut savoir sur la réalisation des tableaux de guerre. Traduction annotée
Authors: Lucken Michael 
Published: June 2021

Fujita Tsuguji : What should be known on the making of war paintings ?
Fujita is acknowledged as one of the great artists of the École de Paris in the 1920’s. But it is less common knowledge that, during the Second World War, he was one of the active members of the Japanese association of military painters. So, as better to understand the motives that spurred him to paint these great huge battle sceneries to-day at the National Museum of Modern Art in Tokyo, it is interesting to refer to the articles he wrote at the time. Hence, the present translation of a famous article published in 1944 : What should be known on the making of war paintings ? One finds there that Fujita involved himself in this work with a very particular zeal and that, for many reasons : sentimental, political, but also aesthetic, which explains his present rediscovery.
Un dessin de Noël Coypel pour Hercule assommant Cacus : une attribution attestée
Authors: Bédard Sylvain 
Published: June 2021

A drawing by Noël Coypel for Hercules clubbing down Cacus : a certified attribution.
This article connects a double study from the nude drawn by Noël Coypel (1628-1707) (Paris, École nationale des Beaux-arts) with a painting in the Lille Museum, Hercules clubbing down Cacus given back to the painter by J. Thuillier, some forty years ago. The drawing, whose composition is almost similar to the painting’s, confirms, at first glance, this attribution. On the other hand, the date 1669 on the Parisian sheet — a nude executed at the life-class at the Academy where he would teach — allows us to give a more precise chronology of the painted work, originally done for the decoration of the antichamber of the petit appartement haut of Louis XIV at the Tuileries, but withdrawn from the palace during the Revolution.
Le livre de raison de don Joseph de Çagarriga : un témoignage sur l’orfèvrerie barcelonaise en Roussillon au XVIIe siècle
Authors: Hernandez Laurent 
Published: June 2021

About Barcelonese silver-plate in the 1 7th century : Don Joseph Cagarriga’s house-book.
This study reveals the data to be found in a manuscript kept in the Roussillon area (private collection) concerning Catalan silver-plate in the 17th century. Don Joseph’s house-book, so far unpublished, gives complete information about a small silver statue, dated 1666, meant for Millas’s parish (Elne diocese) and ordered by Don Joseph Cagarriga to be made by an unknown Barcelonese silversmith. The nationality of the artist as well as the liturgy that went with the reception of this outstanding piece of silver-plate highlights the fact that strong cultural relationships persisted between Roussillon and Catalonia even after the Pyrenees treatise.
Graver l’Antique : Mellan, Baudet et la collection de Louis XIV (1668-1681)
Authors: Aumaître Annelaure , Morisseau Céline 
Published: June 2021

Annelaure Aumaître et Céline Morisseau : Engraving Antiques : Mellan, Baudet and Louis XTV’s collection.
The book of prints made by Claude Mellan and Etienne Baudet between 1668 and 1681 reproduces the sixty -one sculptures of Louis XIV’s collection of Antiques shown in the Louvre and Tuileries. It belongs to a collection of engraved plates entitled “Tableau du Cabinet du Roi, statues et antiques des Maisons royales”. The quality of this book resides in the continuity of the style of the two artists and in the extreme accuracy of the translation of sculptures into engravings, which makes it possible to identify, localize and enrich the history of some of the items of the collection. Finally, Mellan’s technique proves to be far richer in information than Baudet’s, so that one can imagine where the sculptures were and their supposed display in the King’s lower appartments at the Tuileries.
L’obliquité et l’empaquetage : deux procédés novateurs dans la photographie soviétique des années 1920-1930 et leur application par Boris Ignatovitch
Authors: Ivanova Olga 
Published: June 2021

Olga Ivanova : “Obliquity and compacting” : two innovating procedures in soviet photography in the 1 920’s and how Boris Ivanovitch used them
Boris Ignatovitch started as a photograph in post-revolutionary Russia. At the end of the 1920’s, with other artists, among them Rodchenko, he concentrated on finding new photographic procedures, that is obliquity and compacting.
These innovations were soon accused of formalism by the ideological commissions of the reigning power. The polemic took place in 1931-1932, between the October groups and the “ROPF”.
The interpretation of photography takes the upper hand over its inner qualities. After the decree of April 23th 1932, and the emergency of socialist realism, the use of obliquity and compacting is banished from soviet photographic language.
Boris Ignatovitch is compelled to keep to themes and ways of representation imposed by the propaganda of the Party.