bluuebunny/crossref_metadata_2025_split huggingface dataset:
Le Temple de l’Homme de Paul Landowski : un projet d’art total
Authors: Lefrançois Michèle 
Published: June 2021

Paul Landowski's Temple de l’Homme. A “total art ” project.
Conceived as early as 1900, but remaining a project taken up several times until 1950, Paul Landowski’s Temple à la Pensée et à T effort humain (“Temple to Human Thought and Effort”) is an example of “total art”, the idea of which can be compared to other similar works of the beginnings of the 20th C. Numerous drawings, plasters, models and several carved out groups are still extent. The conception of the sculptures combine friezes in low-reliefs on doors and walls, and round figures. The whole should have represented the heroic figures of the universal history, religions, mythologies, and philosophies. Achieving these gigantic reliefs would have required the support of a patron Paul Landowski, in spite of an official career, never found.
Le Peintre du Dinos
Authors: Halm-Tisserant Monique 
Published: June 2021

The Dinos Painter.
The Dinos Painter, called after a dinos in Berlin, is a red-figure vase attic painter, active between 430 and 400 B.C. A disciple of the Cleophon Painter in Polygnotos’s parthenonian workshop, he produced first elements of decoration, before being entrusted, around 425 B.C., with compositions with figures. This phase of his activity, which ends with the Boston bell-shaped krater, is followed by a period of independant production, during which he produced among others the paintings of the Canellopoulos kraters and from the former Borowski Collection. The article offers an extensive analysis of the iconography and the style of an artist who, by the freedom of drawing, by the rendering of the volume and the light, brought vase painting to its own limits.
Un missel dominicain : le manuscrit 103 de la bibliothèque municipale de Toulouse
Authors: Coffinières Bénédicte 
Published: June 2021

A dominican Missal : the ms. 103 of the Bibliothèque municipale in Toulouse.
The Bibliothèque municipale in Toulouse preserves a collection of manuscripts from the dominican monastery. One of these (the ms. 103), a missal, is decorated with 196 ornated letters, one historiated letter (the Crucifixion) and two full-page miniatures (Crucifixion , Christ in Majesty). The stylistic analysis allows the distinction of two hands. The ornated letters would have been produced at the end of the 13th C., the two full-page miniatures by an other artist between the 13th and the 14th C. In these conditions the decoration of the missal would be contemporary of the building of the Jacobins church of Toulouse, with the ornementation of which the miniatures show analogies.
Benjamin-Constant et la peinture orientaliste
Authors: Cardis-Toulouse Régine 
Published: June 2021

Benjamin-Constant and the orientalist painting.
Benjamin-Constant (1845-1902) belongs to the last generation of artists faithful to the traditional notion of genres. As a history painter, he abandoned Antiquity for Orient — a choice probably determined by a journey to Spain and Tanger in 1872. If he sometimes seems to emulate the memory of Delacroix, the dramatic character of his compositions and the decoration prevail over the historical significance of the events represented. The same can be said about the genre scenes, especially the harem interiors, in which Henri Régnault’ s influence is noticeable. In conclusion, Benjamin-Constant’s orientalist work offers a neoromantic alternative to the contemporary orientalism of a Gérôme.
Ueda Sôkyû (1899-1968) : un calligraphe et la peinture
Authors: Delaleu Francette 
Published: June 2021

Ueda Sôkyû (1899-1968) : a calligrapher and the art of painting.
Traditionally, calligraphy is considered in Japan as a discipline of its own. A potter and a painter, qualifying himself as a bunjin (erudite), Ueda Sôkyû has been considered as a dilletante. In fact, the attraction of painting directs his reflection on calligraphy as well as his creation in this field. By priviledging form to the detriment of meaning, and by removing it from the conventional representation, he contributed to give calligraphy its autonomy as an art, cognate to painting.
La tête Sabouroff est-elle celle d’un homme aux cheveux rasés ?
Authors: Delattre Liliane 
Published: June 2021

Does the Sabouroff Head represent a Man with Shaved Hair ?
The apparently exceptional representation of a man’s hairstyle and beard such as the one of the Sabouroff Head (of uncertain origin) from the Pergamon Museum in East Berlin can be found on other pieces. The author of the paper describes the technique (dotting with the sharp end) and dates the head approximately to 550-540 B.C. The discussion concerns the absence of the hair and beard. Could the dotted area, as some authors believe, just be a preparation for a stucco coating ? This hypothesis is rejected since the concern for final smoothing is remarkable. It is therefore necessary to examine the possibility of a short hairstyle. Various texts show that a shaved beard and shortened hair are related either to mourning or to the idea of a loss in general (e.g. a departure for war, etc.). Comparisons are made with similar representations (New York, London, Athens, Paris). The question whether the Sabouroff head had a votice or funerary function has not however been resolved.
La majesté sacrée du roi : images du souverain carolingien
Authors: Aubert Dominique 
Published: June 2021

The Sacred Majesty of the King : Images of a carolingian Sovereign.
The body of works examined consists of six representations of a sovereign in majesty (King or Emperor) from the Carolingian period, dated approximately between 840 and 875. The article’s aim is to define formal and iconographical characteristics associated with the idea of royal majesty in these manuscript images. It is shown that royal majesty is not defined by one element alone but by a combination of several elements. Its image is compared with other types of majesty, particularly those of Christ and David. The evolution of religious ideology in the ninth century forbades the assimilation of a sovereign’s majesty with divine majesty. The author therefore introduces the notion of « intermediary majesty » in order to account for the particular traits of the image of the Carolingian King, who remains a sacred personage in a sacred space (etymologically « forbidden »), while playing the role of an intermediary between God and the people.
La montagne dans l’œuvre du paysagiste Antonin Fanart
Authors: Agache Annie 
Published: June 2021

The mountain in the work of the landscape painter Antonin Panart.
The first study devoted to this artist from the Franche-Comté (1831-1903), the article deals, through the theme of the mountain, with the evolution of his vision. Trained in Geneva by the romantic landscape painter Diday, he acquires the style of this school : a predilection for the large panoramas, a meticulous technique, a care of truth. Very quickly, he abandons grandiose settings for simpler landscapes, the light and the poetry of which he expresses. Twilight in the rocky plain (1860-1861), brings him fame. The painter of mountains becomes a lyric landscape painter, and comes close to the vision of the Barbizon painters and their friends. The contemporary critics compare him to Fantin-Latour, Jules Dupré, Théodore Rousseau. Fanart will keep from the mountain the sense of space, and his landscapes are often noticeable by backgrounds of particularly accurate values.
L’assemblage en Californie dans les années cinquante et soixante : le reflet d’un malaise social
Authors: Giffon-Selle Anne 
Published: June 2021

A. Giffon : Assemblage in California in the Fifties and the Sixties : A Reflection of Social Uneasiness.
Assemblage is one of the first movements which marks the existence of an original and specific artistic activity in California after the Second World War.
Assemblagists use objects and materials that have been rejected or are falling apart. They privilege themes expressing fear of a nuclear holocaust, the oppression uf women, or the hypocrisy of consumer society. They find their inspiration in the present while looking for symbols and beliefs in oriental philosophies. Their close relationship with the writers of the Beat Generation gives a particular dimension to their experience which is very different from that of Pop Artists and the New Realists.
Sol Lewitt : le dessin mural ou l’œuvre comme passage
Authors: Marsaud Perrodin Roselyne 
Published: June 2021

Sol Lewitt : mural drawing or the work as passage.
The analysis of Four colors and all their combinations, shown at the A.R.C. in 1987, reveals the processes used by Sol Lewitt to achieve the aesthetic objectives of conceptual art. Carried out on a complex surface of 80 m2 by ten assistants using very precise preliminary sketches, four different inks and old rags for spreading them in three layers, the « drawing » is founded on a repartition of variable color plans on the disponible fields of a unique form — the trunk of a pyramid. The complex combinatory thus elaborated is supposed to suggest to the spectator a new conception of space : the work which surrounds him constitute a passage, which cannot be appropriated in a global and durable way.
L’art domestique à Rennes autour de 1910
Authors: Troussel Jean-François 
Published: June 2021

From picturesque to regionalisms : domestic art in Rennes around 1900.
The study of middle-class villas built in Rennes from 1910 onwards on a new estate close to the Jardin des Plantes permits to bring to the fore the skilfullness with which the architects knew how to adapt their style to the social status and the cultural level of their patrons. The picturesque which dominates covers borrowings to different historical styles and, more and more frequently, to regional features, the main reference being the manor. The interior laying out, connected with the patrons’ style of life, evolves towards more open and luminous spaces.
L’illustration du Codex Gressly, missel bâlois du XIe siècle
Authors: Palazzo Éric 
Published: June 2021

The bishopric of Bâle received in 1986, as a gift from the family of Dr Max Gressly, a manuscript unknown until now. The writing permits a datation in the second half of the third quarter of the 11th C. It is a missal with juxtaposed parts. The author is mainly concerned with the iconography of two full page illustrations :
1/ A Crucifixion associated with the Bronze snake ;
2/ Saint Paul sat on a throne receiving the instruments to write.
1 / Christ is shown crucified on the initial «T » of «Te igitur » ; the image is associated with the text in a way which is not totally original for the period, and which is even fallen in disuse ; since the beginning on the 11th C. indeed, the first words of the prayer are no longer integrated to the picture, because of the progressive passage from the sacramentary to the missal. Contrarywise the préfiguration of the Crucifixion is evoqued very soon in the theological littérature. But in iconography, the two themes were note yet associated ; the drawing of the Gressly codex is then particularly original because it seems to merge two distinct models in a very narrow composition.
2/ The representation of Saint Paul in the Gressly manuscript has a unique place in the iconography of the apostle during the Middle Ages. The innovation character of this iconography contrasts with the rather out-of-fashion style of the drawing.
There is also 7 ornamented initials which seem of German inspiration. The localisation of the codex is still to be discovered.
Marly, jardin des eaux
Authors: Bentz Bruno 
Published: June 2021

Marly, a water garden.
At the time of their creation during the 17th c., the hydraulic installations of the royal park of the Marly château (sold in 1799) were quite exceptional. The form and use of elements which are today lost or destroyed can be reconstituted, thanks to archaeological excavations launched in 1985, the results of which are compared with archival sources and early representations of the site. The Marly park is best remembered for the techniques and decoration of its fountains, but the hydraulic system as a whole was far more complete and more diversified than that. This « water garden » is known to have been conceived by the architect J. Hardouin-Mansart ; the same (Vitry) family of fountain-builders was responsible for the upkeep of the garden for a century. The article studies the organization and function of the following elements : the water network with its reservoirs and extensive canalizations built between 1683 and 1686 ; the décor (waterfalls, jets of water and fountains) ; and, finally, the « water service » (baths, drinking, washing water, etc.). Decoration was by no means the only preoccupation ; the system allowed for day-to-day functional uses as well as decorative ones. A complete use of water’s different properties was made possible by the exceptional range of technical achievements realized in its supply.
Les voyages outre-Manche de François-Joseph Bélanger
Authors: Barrier Janine 
Published: June 2021

François-Joseph Bélanger's trips to England.
F.-J. Bélanger, the famous architect of the « Artois Folly » at Bagatelle, visited England three times between 1774 and 1780. He was particularly interested in « English gardens » and Palladian architecture. His sketchbook, used on all three visits, is held by the Library of the Ecole nationale supérieure des beaux-arts at Paris. The first voyage must have taken place prior to 1777 ; the second dates from 1778 and the third from 1780. Bélanger’s sketches not only allow us to reconstitute his itineraries (done here for the first time), but also to analyze what attracted the architect : sites, architecture, furniture, various mechanical devices, most of them noted in relation to his architectural or garden projects under way in France. In 1778, for example, he was particularly interested in the Palladian villa built by Chambers in 1758 at the edge of Richmond park. In 1780, amongst other subjects, he drew James Paine’s bridge. Between 1778 and 1780, when Bélanger, in collaboration with Thomas Blaikie, was designing the Bagatelle gardens for the Comte d’Artois, he drew on his English experiences, and also applied the principles of Chambers. It was the beginning of the success of « English gardens » in France.
Les premières photographies archéologiques : Victor Place et les fouilles de Ninive
Authors: Bustarret Claire 
Published: June 2021

The first archaeological photographies : Victor Place and the excavations at Niniveh.
In charge of the new campaigns of excavations on the site of Niniveh, Victor Place, the French consul in Mossoul, was, between 1852 and 1854, one of the first users of photography for the sake of archaeology. Around fourty of his printings on paper (the list of which is added to the paper), illustrating one of his mission accounts sent to the orientalists of the Academy, shows the seriousness of his documentary and scientific intentions. To put « Assyria itself » under the erudites’ eyes, to give them a concrete visual information on the way the works went on, and to bring the proof on the historical and esthetical values of the discovered objects — but also to contribute to the interpretation of inedite items and constructions — such are the functions given to these views taken in situ. The angle of shooting, but above all the treatment of presentation of the shots (reframing, colouring, cutting), as well as their narrow association with the description, give to the archaeologist the means of a semiotic mastership which constitutes a new object of knowledge, and which tends to question the bookish erudition to the benefice of field testimonies.
La photographie et la presse illustrée sous le Second Empire
Authors: Rochard Sophie 
Published: June 2021

Photography and the illustrated press during the Second Empire.
The illustrated press shew the greatest enthusiasm for the new device called photography, but did not use it as quickly as one could have expected. At the beginning, photography was a model engraved on wood, like all the other original documents (drawings, water-colours, etc.) : the first print after a photograph was published in 1853 in L’illustration. The author studied the prints published from 1853 to 1870 in three papers : L’illustration, Le monde illustré, Le tour du monde (around 2800 items and 400 photographers). She could compare the plates to the original photographies whenever they still exist. She concludes that the printer sometimes intervenes to modify his model, for instance by adding figures in landscapes. Moreover, the technical possibilities of photography are still limited and cannot render actions, for instance battles, except when they show the setting. The majority of subjects are thus portraits, always posed, and sites. But the reader will get very quickly used to this type of reporting, and, with the technical progress, photography by itself will become the information.
La photographie artistique à l’Exposition universelle de 1900
Authors: Poivert Michel 
Published: June 2021

The artistic photography at the Exposition universelle of 1900.
At the time of the Exposition universelle of 1900, the pictorialist photography is ten years old ; its importance, and the role of the Photo-Club de Paris are acknowledged during the International photography congress, but it is not yet accepted in the section of works of art. The collective exhibition of the Photo-Club de Paris shows the works of the « French school » of artistic photography, but the English and the Austrians meet more success ; a lack of novelty is reproached to the French. Even worse, the Exposition is boycotted by the German, Belgian and American artist-photographers, a consequence of the refusal to give the status of an art to photography, and of the success of a new american generation in New York and London.
The Exposition universelle of 1900 appears as a failure for French pictorialism and announces the incertitudes, the « dead point » Robert Demachy will speak later of.
Le mythe grec dans l’art romain
Authors: Turcan Robert 
Published: June 2021

Greek myths in Roman art.
Roman art adopted Greek mythological iconography but uprooted it from its religious subsoil. The Greek myth — secularized, privatized and politicized — was brought down to the level of reality. It could allow this reality to be forgotten, deplored, justified or magnified. Episodes of Greek mythology were often miniaturized or mingled together, even synthesized ; they could be transformed into theatre or into allegory. Throughout the imperial period then, the Greek myth became a system of cultural signs, bearing no relation to religion ; this allowed it to survive polytheism.
Terres cuites de Grande Grèce au musée de l’université de Nancy II
Authors: Caré Pietro 
Published: June 2021

Terra cottas of the Greek world held at the Museum of the University of Nancy.
The study of six terra cottas dating from the fifth and fourth centuries B.C. and held today by the Museum of the University of Nancy II, allowed us to identify their origins and to reveal the complexity of the activities of their producers in Medma and Taranto. For a long time they did copies of or variations on types imported from various regions of mainland Greece : Eastern Greece, Paros and Boeotia.
Georges Rouault : écrire comme peindre
Authors: Zucchelu Anne-Marie 
Published: June 2021

Georges Rouault : writing like painting.
Georges Rouault’s writings are little known.
A systematic list of them is appended to this article, showing them to be numerous and varied : poems, articles, prefaces, letters and unpublished texts. Most accompany his experience as a creator. Rouault does not talk about painting, but with painting. He prefers subjective commentary to critical analysis. His paintings and his texts originate from the same internal odyssey. The artist’s predilection for an almost chidlike naivety, in the face of the powerful world which inhabits him, acheives its most personal expression in his songs, rooted in popular culture.
Six pièces d’orfèvrerie chinoise du musée Guimet
Authors: Bayou Hélène 
Published: June 2021

From the Sui to the Song dynasties : six pieces of Chinese goldsmith ’s art at the Musée Guimet.
Throughout Antiquity, bronze was the principal metal used in Chinese art and it was only during the Tang dynasty (618-907) that the working of gold developed. The growth of the Empire towards central Asia encouraged an influx of gold, whilst trade exchanges with the West helped introduce new techniques (soldering, embossing, stamping, etc.) along with new forms (cups with stems or handles) and a new decorative repertory. The objects held by the Musée Guimet and studied in the present article illustrate this evolution. They are a perfume flask dating from the Sui period (581-618), three pieces dating from the reign of the Tang emperors, a guilded silver cup from the second Tang period (after the An Lushan revolt of 756) and, finally, a gold cup from the Song period.
This last piece illustrates the withdrawal of China after the tenth-century recession, and the development of specifically Chinese aesthetic forms.
Cubisme, décor et tradition vers 1912
Authors: Amano Chika 
Published: June 2021

Cubism, decoration and tradition around 1912.
The generation of artists who were active in France during the 1880s was particularly interested in promoting the value of the decorative arts and several painters were involved in the creation of decorative ensembles. The influence of William Morris and of Ruskin was strong, and the aesthetics of the new style were linked to the idea of a social art. Towards 1900, Germany’s new industrial power had an influence on the decorative aesthetics of this country. In France, from the time of the Universal Exhibition of 1900, anti-German nationalism grew more marked. German success seemed all the more threatening since the French decorative arts were still unable to forge links with industry. The quest for a new style is marked by the ideology of French tradition. The decorative style seen as modern by the new generation of artists-decorators around 1910 tends towards geometric simplicity, but the dominant ideology remains hostile to any notion of volume production. The cubist house presented at the 1912 Paris Salon d’ Automne provides a good example of the contradictions and ambiguities of modernism. The notion of a French tradition still inspires a certain number of artists-decorators and cubist painters at the very moment when Picasso and Braque, on the one hand, and Marcel Duchamp, on the other, were raising the question of the materials of art.