bluuebunny/crossref_metadata_2025_split huggingface dataset:
L’invention d’un monument : le manoir normand selon Gabriel Ruprich-Robert
Authors: Rouffignac Aude de 
Published: June 2021

The invention of a monument : the Normandy manor according to Gabriel Ruprich-Robert.
In 1888, at the Paris Salon, Gabriel Ruprich-Robert exhibited the architectural renderings of four timber-framed rural houses, situated in the Pays d’Auge in Normandy. These drawings have all the precision characteristic of the works executed for the French Historic Monuments Commission, to which the architect belonged. Up to this date, rural houses had usually been observed only in terms of their picturesqueness. Here, however, they are placed at the beginning of a process of monumentalisation which witnessed two stages. First of all the drawings of the four rural dwellings were adopted by Julien Guadet to serve as models in his teaching and in his treatise on the elements and the theory of architecture (Eléments et théorie de l’architecture, c. 1895) and then for the collection of drawings published by Jean de Bonnefon and Georges Wybo in 1913 : Les maisons des champs au pays de France. The traumatism of the destruction wrought by the First World War on rural architecture completed this process of monumentalisation. Two of the models, henceforth described as « manors » were scheduled as historic monuments in 1921-1922, whilst the two others were given statutory protection on the supplementary list of Historic Monuments in 1927. One of these buildings, the Pipardière Farm, was dismantled and stored for a long time before being reconstructed in another part of France. Its layout and structure were profoundly modified by this reconstruction. The authorisation to move the building dates from 1991-1992, and raises the problem of how the rural heritage is to be recognised in (or outside) its territorial specificity.
Les statuettes funéraires en terre cuite du Mexique occidental
Authors: Servain-Riviale Frédérique 
Published: June 2021

Funerary statues in terra cotta from western Mexico.
Even if the archaeological evidence remains scanty, a precise iconographical study of the funerary statues in terra cotta found in the well tombs of the states of Nayarit,
Jalisco and Colima in western Mexico is possible. Beyond different stylistic forms, this study shows that the statues are not mere evocations of the various aspects of daily life, but that they have magic and religious values. They illustrate ritual practice (purification, penitence, prayer), beliefs of a shamanistic nature (purification by breath or suction, ingestion of peyote, tobacco consumption) or of an eschatological nature (access to the beyond, protection from death).
La commande des vitraux de l’église des Bréseux à Manessier
Authors: Caussé Françoise 
Published: June 2021

The commission for the stained-glass windows of the Bréseux church by Manessier.
Based on unpublished sources and a numerous oral accounts, this article tells the story of the commission for the new stained-glass windows of the Bréseux church (Doubs), and how these windows were received locally. The story takes place between 1948 and 1950 and is an episode in a series of controversies which emerged in France during the programme of church reconstruction between 1945 and 1954. The idea for the stained-glass window came from François Mathey, closely connected with the Franche-Comté region. The initiative came from canon Lucien Ledeur, secretary of the diocesan commission for sacred art at Besançon, under the authority of the archbishopric of Franche-Comté. The stained-glass window that Manessier proposed drew forth much debate in the local press.
The main criticism, coming essentially from certain members of the Catholic church, was that the design lacked a « subject », whereas the window refers to precise passages in the Bible. An article in favour of Manessier was written by the curator of the Besançon museum in 1949, replying to the artist’s detractors. This commission was carried out in three stages ; the way it was received is an example of a « local battle », won through the combination of several factors. Manessier was supported by milieux in Paris and particularly by Bernard Dorival and the review L’art sacré, in 1950.
Voir le Sacré : perception et visibilité du maître-autel au XVIIe siècle (2e partie)
Authors: Cousinié Frédéric 
Published: June 2021

The first article on this topic dealt with ways of seeing the high altar through the example of the altar at the Minim Convent of the Place Royale in Paris. The present article goes on to look at the various treatises on perspective dating from the seventeenth century and touching on the question of altars. The first is the pioneer treatise by Jean Pèlerin, dit Viator (1505), republished by Mathurin Jousse in a new edition in 1635. Next comes the treatise by Hans Vredman de Vries, which contains an engraving dated 1606. Both these texts are essentially designed as exercises for artists or distractions for scholars.
In the treatise bvjean Du Breuil (1642-1649), the number of possible perspective points of view increases. Some of the altar paintings proposed here are formed in a curious manner, with several elements in front of each other, rather like the decors in a stage setting. They allow for more realistic effects than a piece putting all its perspective onto a two dimensional surface. The treatise by Grégoire Huret (1670) is opposed to the thesis of the unique viewpoint on the altar painting, and supposes that the spectator is free to move around in front of the work. This less theoretical perspective seems to be associated with a certain separation between reality and its representation, and, consequently, between the religious image and the sacredness it may contain.
Lucien Magne : un enseignement de l’architecture à l’École des beaux-arts entre 1892 et 1916
Authors: Talenti Simona 
Published: June 2021

The article begins with a reminder of the main orientations of the history of architecture as it was taught at the École des Beaux-Arts after 1819, when the first chair was created at the school.
After the courses of Huyot (1822 to 1840) and Lebas (1841 to 1863) came those of Albert Lenoir, an assistant professor from 1856, appointed to the chair in 1869 and still teaching in 1891. His teaching course ended with the appearance of ogival architecture in the West. His successor,
Lucien Magne, taught between 1892 and 1916. He introduced rationalism into thinking about architecture, succeeding here at what Viollet-Le-Duc had been unable to do in 1864 at his chair of «history of art and aesthetics ». For the students, the main aim of the courses still remained the «concours d’émulation », a competitive examination which allowed the school to grade them. The sources which have been kept allow us to appreciate something of the innovations brought by Magne to his teaching. Starting out from a documentary plate showing a series of buildings or parts of buildings of the same type, the students had to compose a detailed restitution, combining structural analysis with decoration, and which could be a complete building or a piece of furniture. Magne’s approach to the history of architecture laid particular stress on building structures (the «ossature ») before going on to an analysis of the ornamental systems of each civilisation. If he paid close attention to the thirteenth — and fourteenth — century architecture in France, he also attached particular importance to the buildings of neo-classicism.
Un projet des frères Perret pour l’industrie : l’usine d’alliages légers d’Issoire
Authors: Laurent Christophe 
Published: June 2021

In 1939, with a view to doubling production of aluminium articles intended for the war industries, and based on the adaptation of modern American processes for sheet metal production, the French Minister of Defense, Raoul Dautry, launched a project for the construction of a new factory for light alloys.
The site chosen for the factory, at Issoire, was at an equal distance from all of France’s frontiers. A semi-public company, the S.C.A.L., in which the State held 51 per cent of the capital, was created for this factory, the design of which was commissioned from the architectural agency of the Perret brothers. Eight workshop buildings were originally planned, seven of them designed by the Perrets between December 1939 and June 1940. Only two of them were actually built according to these plans. The Occupation scaled down the industrial project and the Perret brothers had nothing more to do with the factory after 1940. Nonetheless, the S.C.A.L. took over and completed the factory in 1950, the new buildings still strongly inspired by the Perret ’s aesthetics. The original brief, drawn up by the S.C.A.L., gave the architects the buildings’ dimensions and heights. Their contribution, from the outset, was therefore primarily concerned with the outer envelope sheltering the machines, and their foundations. The plans produced by the S.C.A.L. show how the industrialists had assimilated the architects’ essential concepts. The constructional system elaborated by the architects found expression, in particular, in a reinforced concrete post and beam structure. At Issoire, the sheet metal rolling shop offers a good illustration of his structure and, in its hierarchy of elements, shows the functional and demonstrative design concept of the Perret brothers at its best. The Issoire factory is a perfect representation of Auguste Perret ’s ideas of how an industrial plant should be monumental, a building conceived more for the machine than for the worker and realising the notion of a «sovereign shelter ».
La polychromie d’une sculpture beauvaisienne en bois du XVIe siècle
Authors: Devos Christine , Gruau Hélène 
Published: June 2021

The Polychromy of a Wooden 1 6th Century Statue from Beauvais.
Before its restoration, two later additions of paint covered the polychrome oak statue of Saint Mary Magdalen (part of the collection of the Musée national du Moyen Age in Paris). Their removal brought to light a remarkably rich layer of polychromy which represents numerous aspects of the techniques and décor from the late Middle Ages that were still in use during the 16th and 17th centuries : water-based or mordant gilding, décors of colored glazes, sgraffito, and applied brocades of an extraordinarily fine quality. The date of 1539, discovered during the restoration, is completely in keeping with the style of the statue. However, an even earlier layer of paint was detected on certain limited areas of the sculpture. This was, most probably, a partial layer, done as a trial, in preparation for the definitive application of the polychromy in 1539 and may be considered unique for this period. The stylistic analysis of the statue showed that the Saint Mary Magdalen, which was thought to belong to the work attributed to Jean Le Pot, was, in fact, executed by an atelier in Beauvais.
Le lit de Valtesse de La Bigne
Authors: Lauwick Béatrice , Nouvel Odile 
Published: June 2021

The bed of Valtesse de La Bigne.
The Musée des Arts Décoratifs in Paris presented, at the beginning of 1995, the bed of Valtesse de La Bigne, Parisian darling of the artistic circle of the Third Republic, as part of the exhibition, Rêves d’ Alcoves. The restoration of this piece of furniture, the work of the Parisian designer, Edouard Lièvre, presented a number of problems. The pierced bronze pieces, heavily recut and applied to the plush which sheathed the wooden frame, had been extensively altered. After the structure of the bed was carefully recorded, it was taken apart and the dates of its construction in 1881 and its re-assemblage, after it was moved in 1902, were discovered. The bronzes were treated with an EDTA tetrasocid solution, polished, and then set in place on the bedding.
The green color of this bedding most surely derives from the 1902 restoration, since the original blue coloring, attested to in the early descriptions of the bed, was not found. This restoration, also, brought to light several inscriptions that negate the long standing attribution of the bronzes to the atelier of Barbedienne.
Naissance d’un quartier de Paris : le lotissement du Nouveau Quartier de l’Europe (1820-1839)
Authors: Térade Annie 
Published: June 2021

Annie Térade : Birth of a new Parisian quartier : the development of the Quartier de l’Europe (1820-1939).
The new Quartier de l’Europe was created in 1824 on a piece of land composed of acquisitions made at the end of the Empire. The architect Etienne-Hyppolite Godde set up the new land parceling in the form of a star set around an octagon, for the landlord/speculators, Mignon and Hagerman. The ground plan corresponded to the form of the parceling and the junction with the existing network of thoroughfares was not exact ; the adjustment to the urban context required both the planting of trees and the construction of sidewalks. The parcels of land were laid out in the form of «fish bones » or «zig zags ». Prefiguring the practices of Hausmann, the bills of sale defined the maximum amount of land that would be required for the structure (large dividing courtyards that would be well lighted and open), the beginning of architectural planning (minimum or maximum height, continuity of the string coursing of each floor). The social homogeneity was established : only residences, town houses set on the street (rue de Tivoli) that replaced interior town houses set between courtyard and garden (rue de Londres) and apartment buildings of four stories (rue de Milan and rue d’Amsterdam) would be constructed. Mangot, Van Cleemputte and Godde were the architects in charge of the construction. However, in 1837, the opening of a section of the railroad line from Paris to Saint-Germain up set the original project.
Une histoire de l’art illustrée : l’hémicycle de l’École des beaux-arts par Paul Delaroche
Authors: Bonnet Alain 
Published: June 2021

Alain Bonnet : The hémicycle of the Ecole des beaux-arts by Paul Delaroche. A history of illustrated art.
The decoration of the hémicycle of the Ecole des beaux-arts, done between 1836 and 1841 by Paul Delaroche, brought into being a new concept of monumental painting. Setting aside traditional models of allegorical painting that glorified ART, its civilizing mission, its divine heroes and its patrons, Delaroche portrayed in the hémicycle a history of illustrated art in the form of a panorama representing seventy-five artists from Antiquity through the 17th century. This project, supported by Adolphe Thiers, was defined by Félix Duban, architect of the Ecole des beaux-arts, Louis Peisse, curator of the Musée des études and Paul Delaroche. Artistic teaching should no longer be submitted to academic formalities as expressed by the masterpieces of Antique statuary and the paintings of the Italian Renaissance, but should be open to the diversity of styles that constitute the history of art. This eclectic concept of the evolution of the arts was to serve as the basis of artistic pedagogy and of the theories that Hyppolite Taine postulated at the end of the 19th century in the art history courses he gave at the Ecole des beaux-arts.
Photographie florale et arts décoratifs dans la IIe moitié du XIXe siècle
Authors: Forestier Philippe 
Published: June 2021

Philippe Forestier : Floral photography and the decorative arts in the second half of the 19th century.
Throughout Europe, beginning in 1850, botanical subjects furnished new models for the decorative arts and, from that time, the photography of flowers and plants took on an importance that has been, thus far, undervalued. The photographs of Adolphe Braun or Charles Aubry were the first to be offered for textile design, wall paper and embroidery. Between 1885 and 1900, the photographic albums of Plauszewski, published in Paris, focused attention on the structure of plants. This fitted well with the ideas associated with Art Nouveau, to the extent that Emile Gallé himself photographed plants. This « herbal photography » spread throughout Europe, especially to Berlin, Vienna and London. Hence, botanical photography contributed to the renewal of decorative vocabulary, and based on the exacting study of the forms within nature, it further contributed to a new understanding of the problems of structure, function and the adaptation of ornament.
Archéologie, littérature, illustration : Salammbô vu par G.-A. Rochegrosse
Authors: Houssais Laurent 
Published: June 2021

Laurent Houssais : Archeology, literature and illustration : Salammbô as seen by G. A. Rochegrosse.
The first high quality illustrated edition of Roman history by Flaubert appeared in 1900. The illustrations were signed by an historical painter, well known in the Salons, Georges-Antoine Rochegrosse. The discovery of unpublished manuscripts by Rochegrosse has allowed a comparison of the sources that were used, as well as the strong demands on archeological reconstitution, common to both the writer and the painter. In effect, this demand, frequently commented on by the critics, appears to have determined the value of the image. So that, notwithstanding a good deal of scholarly research, several examples show to what point Rochegrosse placed importance on the text rather than on the archeology or on the topography of the sites and how he was able to free himself from the Flaubertian suggestion. By the freedom of the choice of his sources, as well the idea of the relationship between image and text, Rochegrosse showed himself an attentive reader, conscious of the limits of an illustration that Flaubert himself had absolutely condemned.
Les diplomates italiens, observateurs et conseillers artistiques à la cour de François Ier
Authors: Smith Marc H. 
Published: June 2021

Marc H. Smith : Italian Diplomats as Observers and Artistic Counselors at the Court of François I.
Cultural interaction between the courts of Europe must always be considered as part of a wider, essentially political context of princely competition for «magnificence » and « reputation » ; art was one of the many interests of Renaissance diplomats.
This article focuses on the ambassadors sent from Italian courts to the court of François I. It also explores some of the ways in which these diplomats contributed to artistic exchange, not simply furthering orders, but playing an active and critical role.
Their despatches show at least three important aspects of their work : as observers of pageants and festivals ; informers on current architectural projects, i. e. , mainly royal châteaux ; and advisors to both François I and their own princes for the exchange of works of art as courtly presents. The author’s article offers interesting insights into Italian opinion concerning the taste of the French court.
Effects d’affects : le Caravage dans les textes du XVIIe siècle
Authors: Couëtoux Sophie 
Published: June 2021

Sophie Couëtoux : Caravaggio in 17th Century Texts : the effects of the affects.
Based on various types of 17th century texts written on Caravaggio, including biographies, poems and epistolary documents, we are given an insight into how his paintings were received. Beyond the question of style and form, the emotional relationship between the spectator and the paintings must, also, be taken into consideration. To reveal in a critical text the effect a painting had on its author’s emotions meant that he was able to emerge from the impasse in which he found himself when attempting to describe an art that appeared to him to be unconventional. This aspect, also, helps to understand the uneasiness, as well as, perhaps, the pleasure, of a theoretician and defender of Classicism, such as Bellori.
Le débat sur les styles dans l’architecture religieuse au XIXe siècle le cas de l’Allemagne
Authors: Nayrolles Jean 
Published: June 2021

Jean Nayrolles : The Debate on Styles of Religious Architecture in the Nineteenth Century : the example of Germany.
The eclecticism that dominated European architecture from ca. 1830 until the beginning of the 20th century derived from a true aesthetic philosophy, arising from the necessity to maintain an association between the art of the present and that of the past, and not from a sudden expression of creative inspiration. Thanks to a strong philosophical tradition dating from Hegel that privileged historical retrospection, it was in Germany, more than in any other country, that debates concerning the style that new constructions should be given took place. And it was, predominantly, within the domain of religious architecture, where the importance of the past appeared to be a particularly determinant factor, that different points of view came into conflict. In 1828, the architect Heinrich Hiibsch asked the decisive question :
« What style shall we build in ? ». According to different authors, the responses to this question depended on the nature of the arguments that were put forth : technical ; historical ; religious ; etc.
Marcel Duchamp critique d’art. Les notices du catalogue de la Société anonyme
Authors: Laudicina Stéphanie 
Published: June 2021

Stéphanie Laudicina : Marcel Duchamp, Art Critic.
In 1920, Marcel Duchamp founded, with Katherine Dreier and Man Ray, the Société Anonyme. The purpose of this society was to introduce European modern art into the United States. In 20 years, they brought together more than 600 works from some 170 artists, which were given to Yale University, New Haven, Connecticut, in 1941. Between 1943 and 1949, Duchamp wrote 33 notices in English which were published in 1950 in the catalogue of the collections, The Société Anonyme : Museum of Modern Art, 1920. In these notices, Duchamp’s critical judgment of 33 of the most important artists of this century is clearly revealed. Especially noteworthy is the historical importance that Duchamp places on cubism — Archipenko, Gleizes, Marcoussis, Lipchitz — as well as his negative judgment of the artistic current that, after 1912, created a uniformity of style. Duchamp also sees the cubist theories as useless after-the-fact reiterations of earlier works. His opinion of Picasso is ambiguous ; he praises Picasso’s success and talent, but writes derisively of the purely aesthetic dimension of Picasso’s ambition and the almost religious adoration he received from the public. These notices underscore the great reserve held by Duchamp with regard to modern art and an affirmation of the conceptual, rather than concrete, manual values of artistic creation.
Iconologie politique. Le soleil, le Christ et le roi très chrétien : une figure du pouvoir au XIVe siècle
Authors: Talmant Pierre 
Published: June 2021

Political Iconology — The Sun, Christ and the highly Christian King : a powerful figure of the 14th century.
In Le Songe du vergier (1378), the caustic discussion between the cleric and the knight, in the presence of the highly Christian king, is a conflict of personality that opposes spiritual and temporal powers. By his natural authority, the king, « image of God », whose name Charles (Karolus), presumably, derives from « clere lumiere » (clara lux) empowers him to enlighten, to calm and to guarantee harmony. In the miniature on the page opposite the text, a symbolic reference to the number three is found — a number which signifies, according to Eusebius of Caesarea, stability and justice. The semiotics of the image are organized around the ternary rhythm.
The sacred number which evokes the Trinity and the lily set in the coat of arms constitute the codification of the representation, which is intimately linked to the structure of the image.