bluuebunny/crossref_metadata_2025_split huggingface dataset:
La porte en bronze du Castelnuovo de Naples : naissance de la chronique monumentale
Authors: Barreto Joana 
Published: June 2021

The bronze door in Naples’s Castelnuovo : the birth of a monumental chronicle.
The bronze door in Naples’s Castelnuovo is both the only bronze door with a lay purpose and the first monumental chronicle of the Italian renaissance. The king of Naples, Ferdinand the first, had the succession war against Jean d’Anjou represented on its six panels. The structural analysis of this early narrative work enables us to catch the emergence of a new iconography, the chronicle of a living prince, represented on a big scale. Although it is in keeping with the works of Filarete, Ghiberti, Mantegna or the Tavola Strozzi, the formal composition innovates as regards the unusual arrangement of the scenes, the friezes and the medalions, as well as the glorification of the Prince thanks to Ancient History and to an exact topography.
Les bienfaits des rois hellénistiques à l’égard des cités grecques en matière artistique au IIIe siècle avant J.-C
Authors: Lefebvre Ludovic 
Published: June 2021

Philhellenism and evergetism : some aspects of the Hellenistic monarchies’ policy in the 3th century b.c.
The rise of new states after the slicing up of Alexander the Great’s Empire, between 323 and 281,
Florentia depicta. Décor de façade et courtisanerie au XVIe siècle
Authors: Fenech Kroke Antonella 
Published: June 2021

Florentia depicta : Decorated façades displaying courtiers’ homage.
In the course of the 16th century, the art of painting with sgraffito the façades of the palaces had a special development in Florence. Between 1515 and 1620, a real connection between the practice of a non-architectural decor and the propaganda of the aristocratic power of the Medici became usual. The relationship between the Prince and the courtiers established the backbone of such an artitistic phenomenon, its iconographical program and its functions. Through some selected examples which illustrate the way in which this artistic practice defines a courtier’s iconography meaning the “buon service”, this study analyses how “courtiership” in Florence also expresses itself in the art of decorating façades.
Peinture et diplomatie dans l’entre-deux-guerres, l’exemple de l’échec du projet d’exposition Max Liebermann au musée du Jeu de paume en 1927
Authors: Arnoux Mathilde 
Published: June 2021

The failure of the plan to exhibit Liebermann’s paintings at the musée du Jeu de paume in 1927.
In 1927, Karl Scheffler, the head of the review Kunst und Künstler suggested to Louis Réau, chief editor of the Gazette des Beaux-arts, that, after Berlin, Paris should host an exhibition of Max Liebermann’s works, in honor of his eighty years of age. The French political leaders, who had been stirving to reestablish a pacified relationship with Germany since the signature of the Treaty of Locarno in 1925, encouraged the organization of the exhibition which they saw as the symbol of a cultural reconciliation. However, Max Liebermann’s participation to the Manifesto of the 93 in 1914 was brought back to attention, giving rise to nationalist demonstrations which jeopardized the event. This article reconstructs the context of the project and analyses the complex reasons for its failure.
Le retour de l’URSS à la Biennale de Venise en 1956
Authors: Malbert Marylène 
Published: June 2021

The USSR’s return to the Biennale of Venice in 1956.
In 1956, the Soviet pavilion at the Biennale of Venice opened its doors again for the first time since 1934 : after much dithering, the USSR decided at last to take part in a worldwide artistic event, which moreover took place in Western Europe. What was at stake politically with the Soviet presence seemed to be obvious in the context of the Cold War, while reasons for their joining the event certainly had to do with the political home context of the time. Yet, the artists who were selected did not meet expectations : Soviet realism was still topical and most critics were disappointed with what the Soviet artists had to offer, which was deemed to be out-dated. The presence of the USSR at the Biennale of Venice in 1956 clearly showed a determination to confront foreign art, but also revealed that artistic innovations had by-passed the nation.
La place Saint-Corentin à Quimper au XIXe siècle : l’achèvement de la cathédrale et la construction du musée municipal
Authors: Rannou Nolwenn 
Published: June 2021

The place Saint-Corentin in Quimper in the 19h century : the completion of the cathedral and the building of the town museum.
Starting from the study of two building sites conducted in Quimper by the same architect, Joseph Bigot (1807-1894), this paper deals with the dual power — secular or religious — which has shaped the town from the Middle Ages : on one side, the steeples of Saint Corentin’s cathedral — with the politcal stakes and the symbolical meaning attached to them in a country where the church and the gentry still had a real influence — , on the other side, the town museum, an architecture depending on an administration whose political weight increased with electoral reforms in the course of the century. If the opposition between the two powers stopped only with the law of State and Church in 1905, the place Saint-Corentin still testifies that the 19th century was a period of transition in the history of the town.
La restauration du trophée d’Auguste à La Turbie
Authors: Gandini Bénédicte 
Published: June 2021

The restoration of Angustus’s Trophy in La Turbie.
Augustus’s Trophy in La Turbie (Alpes-Maritimes) built in the first century B. C to commemorate the conquest of the Alps is a showcase for the study of the doctrines of restoration and for a better knowledge of the first institutions created for the preservation of monumental heritage. This monument, between the end of the 19th century and the first half of the 20th was the object of three great restoration campaigns which revealed different approaches from the presentation of the ruin to its partial rebuilding along with the landscaping of the surroundings and the museological development. The analysis of those restoration campaigns thanks to the archive materials enables us first to identify quite specifically the successive stages, then to follow the evolution of the meaning of the monument in the course of the 19th and 20th centuries and finally to scrutinize the organisation and the practices of the different institutions in charge of the restorations, which study leads to an ever existing debate about how to preserve monumental heritage.
À propos du retable de Fongrave en Agenais (1645-1659) : l’atelier méconnu de maître Simon
Authors: Maisonnave Jean-Philippe 
Published: June 2021

About the altarpiece of Fongrave in Agenais (1645-1659) : the little known workshop of maître Simon.
The altarpiece of Fongrave Priory (Lot-et-Garonne) was for a long time considered to belong to the Spanish school of the beginning of the 17th century but, thanks to the discovery of unpublished documents in the archives of the order of Fontevrault, it can be dated between 1645 and 1659 and attributed to the workshop of carver Simon, a craftsman who had probably been trained in Toulouse and had settled in the neighbouring town of Sainte-Livrade. To this wokshop, probably active from the beginning of the 1640’s to the end of the 1670’s are attributed several pieces of religious furniture today lost but well documented, among which the altarpiece of the chapel Notre-Dame du Bout du Pont in Villeneuve-sur-Lot (1658-1660) and perhaps those of the convent Notre-Dame de la Rose and of the Benedictine priory of Sainte-Livrade.
Vingt ans de recherches sur la sculpture française des XVIe et XVIIe siècles
Authors: Boudon-Machuel Marion 
Published: June 2021

Twenty years of research into French 16th and 17th century sculpture.
Few studies into French 16th and 17th century sculpture have been published since 1980. This may give the impression of a certain lack of interest on the subject on the part of the university searchers. But the most recent studies announce a new revival. The monographies on sculptors, even if only few of them have been published, are still an efficient tool, especially if they are enriched by a thematic approach (on the workshops, for instance), which allows a better knowledge of the artist at work. The analysis of works themselves helps to develop the traditional themes (sculpture and power, funerary sculpture). The renewal seems to come from crossed reflections associating, on the one hand, the sculpture and other arts (like architecture, gardens and painting) and, on the other one, join it to the wider search on transmission of models. These new trends demand an inventory of the works which is still incomplete.
Le décor sculpté figuré du chœur primitif de la cathédrale de Laon (vers 1155) : vestige d’une chapelle d’axe
Authors: Kasarska Iliana 
Published: June 2021

The figurative sculptures of the original chancel of the Laon cathedral (c. 1155) : remains of an axis chapel.
The cathedral of Laon, provided at the end of the 12th century with a new square ended choir of ten bays, used to have, c. 1155, a choir of three straight bays, apse and deambulatory. The original straight bays are preserved and several capitals of the destroyed apse have been reused in the new choir. The old one was built in a single construction campaign and its well known architectural style differs from the rest of the cathedral. This paper intends to reesta¬ blish its figurative decoration, partly unpublished up to now. Composed of a key-stone with the image of Christ and bracket-consols with the images of the four beasts of Revelation, the decor represents a Maj estas Domini, a typical apse theme. To this group, is added a key-stone with an Agnus Dei, which must have been in the medium axe of the cathedral, above an altar. The alignment of the two key-stones closing four-part vaults allows to reconstruct the plan of an axis chapel. Besides, thanks to the homogeneity of these sculptures, we can define the style of an artist at work in other parts of the cathedral and in the neighbouring church of Nouvion-le-Vineux.
Le Brun et ses sculpteurs : les monuments funéraires
Authors: Mazel-Nguyen Claire 
Published: June 2021

Charles Le Brun and his sculptors : the funerary monuments.
The study of funerary sculptures in Paris between 1670-1690, a period during which patrons asked Charles Le Brun to produce designs, enables us once more to set the problem of the separation between invention and execution and to analyse its conditions quite precisely. This in fact shortlived separation finds its origin in the wish of the patrons, belonging to newly promuted elites, to respect the adequation between the rank of the deceased and the shape of the monument. The oversight of Charles Le Brun essentially concerns invention, restrained however by the rigid formalism of the patrons. Nevertheless, the sculptors did not give up a theoretical conception of their art, founded on the knowledge of anatomy, proportions, humours and expressions. The group work entailed by the ambitious plans conceived by Le Brun led to a stronger artistic emulation and greatly enhanced the value of their sculptural works.
La sculpture photographiée : le regard de Véra Cardot et Pierre Joly sur l’œuvre sculpté d’Émile Gilioli
Authors: Noirot Julie 
Published: June 2021

Photographing sculpture : the sculptures of Emilio Gilioli as seen by Véra Cardot and Pierre Joly.
Far from being simple archives, the snapshots of sculptures taken by two partners, Véra Cardot and Pierre Joly, offer a precious lighting as well as an unique contribution to the study of contemporary sculpture. Two works of art — and doubly so — the shots devoted to Gilioli’s works between the end of the 1950’s and the beginning of the 1960’s, reveal in an examplary fashion the special link which can grow between these two arts. Both true to life and inventive, these shots enable us not only to replace the sculptures in their creative back-ground by establishing a chronicle of the work being done, but also to reveal them thanks to criticism in action and to an aesthetic manifesto of the work of the sculptor.
Les monuments à l’aéronautique ou l’apparition de nouveaux codes iconographiques
Authors: Leverrier Émilie 
Published: June 2021

Monuments to aeronautics or the appearance of new iconological codes.
About 250 civil and military monuments testify to the importance of aviation in France. At the beginning of the 20th century and mainly in between the two world wars, two periods deeply rooted in the commemoration process, aeronauts were the object of national celebrations leading to the building of monuments. Artists had to find new iconological codes for expressing the invention of aviation. Some created allegories, either by reusing myths like Ikarus’ or by following the artistic avant-gardes to express the energy of planes. Others centered their monuments on the pilot, either civil or military, a man erected to the rank of hero, such as Guynemer or Mermoz. Artists had to create codes making it easy to recognize the pilots : wings or devices like the badges used by the pilots belong to this new language.
Maurizio Cattelan. La trahison des images
Authors: Lagnier Sylvie 
Published: June 2021

Maurizio Cattelan : Betrayal by images.
Maurizio Cattelan, an artist born in Padova in 1960, emerged on the Italian artistic stage in the 1990’s. Drawing from reality, his works renew the question of representation by insisting on the illusory power of images. Humour and self-derision are repetitive aspects of his work which enable him to attack the political w'orld, to criticize the artistic domain or to tackle more existential questions such as human destiny. This paper offers a study centered on the illusion produced by these parodies. Thanks to examples shown in perspective with the works of other contemporaries, it means to define the nature of the works produced by the Italian artist. What do they owe to hyperrealism ; what distinguishes them from it ? How' far do they renew the question of reality ?
La galerie Iris Clert, 1956-1961 : se lancer et s’affirmer dans le monde de l’art
Authors: Dirié Clément 
Published: June 2021

The Iris Clert Gallery, 1951-1961 : launching oneself into the world of art.
The gallery directed by Iris Clert was inaugurated in 1956. Despite being a novice in the world of the art market, it quickly acquired a visibility and legitimacy in the middle of the Parisian artistic landscape and became one of the principal experimental galleries of the period. At the turn of the 1960s, the gallery is proud to house collective expositions — the successive Micro-Salons that united the full production of pictorial works of the period — and essential monographies : Yves Klein’s Le Vide (April 1958), Jean Tinguely’s Les Meta-Matics (July 1959), Le Plein of Arman (October 1960). By putting the Iris Clert Gallery in the context of the time and by analyzing the types of diffusion and mediation used by the owner of the gallery, this study sheds light on the most innovative aspects of her practise and programming, which are centred around her leading personality, emphasizing the very form of the exposition and the appeal to informative and communicative methods adapted to her object, which is the contemporary art.
Architectures et terrains coloniaux : perspectives sur l’historiographie contemporaine
Authors: Vacher Hélène 
Published: June 2021

Architecture in the Colonial Field : New Perspectives in Contemporary Historiography.
This essay explores the ways in which colonial studies contribute to a renewal of the architectural history of the nineteenth and twentieth centuries, focusing on the relation between the development of historiographical themes and the transformation of the symbolical and political frameworks within which academic studies evolve. Studies of the circulation and transfer of forms, techniques and norms between imperial centers and colonial territories, whether these exchanges took shape as actual buildings or as models for architecture and urbanization, have greatly expanded the field of art history. Touching on a great variety of topics, research in colonial history not only opens up new areas of study and helps to break down the categories that have traditionally separated the objects of art history and of architectural history. It also points, often in subtle ways, to new methods in historiography.
La nature citadine : promenades plantées et jardins publics en France aux XVIIe et XVIIIe siècles
Authors: Pascalis Sandra 
Published: June 2021

Nature in the City : Tree-Lined Promenades and Public Gardens in France in the Seventeenth and Eighteenth Centuries.
Starting in the seventeenth century, tree-lined promenades and public gardens became a fixture of cities throughout France. New codes of leisurely walking were established. Conforming to preset models, these spaces were systematically implemented as part of urban embellishment policies, and became characteristic elements of the national landscape. Parallel to the normalization of forms and uses a new vocabulary developed. The diversity of this lexicon has rarely been studied, leading to a great number of confusions as demonstrated by historiography. This essay intends to define and distinguish the various meanings covered by the terminology designating public gardens and promenades in French (promenoir, promenade, mail, cours, jardin, jardin public, rempart and boulevard planté), using as source material period dictionaries, travel memoirs, and tourist guides. Purporting to be exact, these texts in fact contain many approximations, and even contradictions, whose close study provides rich insights into the urban imaginary associated with the promenade.
Fès, du modèle urbain à la ville nouvelle (1912-1956)
Authors: Jelidi Charlotte 
Published: June 2021

Fès, from Urban Model to New City (1912-56).
Although they all spring from the same model, none of the ten new cities of Morocco built under the French Protectorate is alike. These differences create a picture far more complex than that put forward by colonial propaganda. The archives of the French administration - a part of which remained in Morocco after the departure of the French authorities - reveal the influence of local economic, political and social realities on the genesis of each of these cities. Concentrating on the case of one of the last new cities erected, Fès-nouvelle in central Morocco, this essay attempts to reveal the discrepancies between, on the one hand, the political agenda of the French colonial administration (the Résidence) and of the urban planners, and, on the other hand, the legal, administrative, financial and technical conditions.
De l’anthropologie physique à « l’ethnographie artistique » : Gustave Le Bon et sa Civilisation des Arabes (1884)
Authors: Volait Mercedes 
Published: June 2021

From Physical Anthropology to “Artistic Ethnography” : Gustave Le Bon and his Civilisation des Arabes (1884)
In the second half of the nineteenth century Islamic arts were considered in various ways. They were either described as “high curiosity” objects by antiquarians and collectors, as a terra incognita yet to be explored by art historians, as a part of ornamental science by theoreticians of architecture, or as new types of “monuments” by archeologists. La Civilisation des Arabes (1884) by Gustave Le Bon is a good illustration of the manner in which anthropology approached these arts. Our study intends to clarify the issues at stake in this book both by examining the structure of the text and by replacing it in its social context and along the intellectual itinerary of its author.
Traiter de l’ornement
Authors: Bouchon Chantal 
Published: June 2021

The Study of Ornaments
The dictionary’s definition of the ornament is « something that decorates or adorns ; embellishment » (American Heritage Dictionary) . Its meaning is therefore both functional and contextual. Ornaments belong to the same realm as the objects they adorn. As such, they are related to all the crafts grouped under the titling of « decorative arts » : fire arts, woodwork, objects of fine art. Documented for the most part by drawings circulated as prints and by treaties of ornamentation, ornaments are an essential part of artistic creation. The notion of decor evolved throughout the centuries, fluctuating between the ornate and the minimal, following the evolution of taste, needs, available materials, the political and economic context, the influence of intellectual milieus and the role of patrons.
Cultural events of the past thirty years, particularly exhibitions and their accompanying catalogues (traces of these ephemeral events), as well as the symposiums held on these occasions, have enabled new approaches of decorative arts. Monographs and research on specific techniques have also contributed to this renewal by shedding new light on these arts. Finally, it is important to mention in this respect the reopening of the musée des Arts décoratifs in Paris. Our aim in this paper is not to cover all the aspects of the renewal of the study of ornaments, but to present a select number of events chosen for their exemplariness. Our hope is that this presentation will help foster curiosity about this domain and possibly encourage multiform approaches.
Le mobilier de Donald Judd : enjeu d’une distinction entre art et design
Authors: Delacourt Sandra 
Published: June 2021

Donald Judd’s Furniture Pieces : Emphasizing the Distinction Between Art and Design
Donald Judd’s furniture pieces were initially reserved for strictly domestic purposes and they did not appear on the public art scene in New York until the 1980s, that is nearly twenty years after they were first designed. The timing is particularly significative as it was during the 1980s that galleries and international furniture producers began to express great interest in what came to be known as « artists design ». Other famous examples of this genre are Sol LeWitt’s first Coffee Table, produced in 1980, and Dan Flavin’s china set, For André Raynaud, commercialized in 1990. Judd launched his first series of industrially-produced furniture in 1984. Although his production of furniture steadily increased up to his death in 1994, and despite regular exhibitions, this chapter of his work remains relatively unknown to this day. Contrary to the then popular view, Judd regularly recalled the distinction, essential in his opinion, between art and applied art. If this distinction has contributed to misunderstandings about Judd’s position as an artist, it is also herein that lie the important questions raised by his works of applied art. Analyzing this distinction can help us as well understand Judd’s decorative work as a strong counter-proposition to the postmodernist redefinition of the ties betyveen ethics and aesthetics.
L’organisation spatiale des églises du Nuiton (Côte-d’Or) au début du XIIIe siècle
Authors: Demarthe Sylvain 
Published: June 2021

Spacial Organization of the Churches in the Nuiton Region in the Early Thirteenth Century
Several of the parish churches built in the area of Nuits-Saint-Georges, in Côte-d’or (Burgundy) in the first half of the thirteenth century, display a particular organization of interior space characterized by a separation, which is more or less visible at first sight, between the western and eastern parts. This separation is based first of all on a rectilinear layout, probably a legacy of the model of Cîteaux IV, first established in the late twelfth century and later standardized. In this plan the divisions of the ground narrow as they procede from west to east. The separation is also based on differentiated vaulting between the nave, the transept (when present) and the sanctuary. This distinction may be found at Corgoloin and Gerland, as well as in less well-preserved churches. But it is most obvious at Saint-Symphorien de Nuits. In this case it was visibly meant to establish architecturally a hierarchical divide between the faithful and the clergy within the edifice.