Archives de l’auteur : Maxime Georges Métraux

À propos Maxime Georges Métraux

Doctorant en Histoire de l’art moderne (Université Paris IV –Sorbonne, Centre André Chastel – UMR 8150).

Publication : « Building Washington : Engineering and Construction of the New Federal City, 1790−1840 ».

KAPSCH Robert, Building Washington : Engineering and Construction of the New Federal City, 1790−1840, Baltimore, Johns Hopkins University Press, 2018, 384 p.

Présentation de l’éditeur :

In 1790, George Washington and Thomas Jefferson set out to build a new capital for the United States of America in just ten years. The area they selected on the banks of the Potomac River, a spot halfway between the northern and southern states, had few resources or inhabitants. Almost everything needed to build the federal city would have to be brought in, including materials, skilled workers, architects, and engineers. It was a daunting task, and these American Founding Fathers intended to do it without congressional appropriation. Continuer la lecture

Appel à communication : « Between ecstay and inspiration : Wine and music in the visual arts / Entre extase et inspiration : le vin et la musique dans les arts visuels ».


Sébastien Bourdon, Bacchus et Ariane sur l’ile de Naxos, vers 1630, huile sur toile, 80,4 x 102,2 cm.

Type : appel à communication.
Date limite de l’appel : 23 mars 2018.
Date de l’événement : 21-23 juin 2018.
Lieu : Bordeaux.

This international conference is organized on occasion of the exhibition “Le Vin et la Musique: accords et désaccords (XVIe–XIXe siècle)”, hosted by La Cité du Vin, Bordeaux (March 23 to June 24, 2018, curator: Florence Gétreau, emerita at CNRS). The following partners are involved: Fondation pour la Culture et les Civilisations du Vin, International Musicological Society (IMS Study Group on Musical Iconography), Institut de Recherche en Musicologie (UMR 8223 of CNRS), University Paris-Sorbonne, and University Bordeaux-Montaigne. Continuer la lecture

Journée d’études : « Art and Power : Patronage and Politics in Europe from the Old Regime to the Present ».

René Antoine Houasse, Louis XIV à cheval, fin du XVIIe siècle, huile sur toile, 255 x 200 cm, Versailles, musée national de Versailles et de Trianon.

Type : journée d’étude.
Date et heure : 23 février février 2018 à 9h.
Lieu : Stanford University, Stanford Humanities Center, 424 Santa Teresa St, Stanford, CA 94305.

This conference examines the history of state arts patronage in Europe and its ramifications in the present. Presentations on literature, music, theater, and the visual arts will provide an interdisciplinary examination of the origins and the tensions underlying the European model of state arts funding, along with a contemporary perspective on how and why European governments seek to support the arts today by the Cultural Counselor of the French Embassy in the United States. The panels will address questions such as: How have the arts been used to secure domestic political legitimacy or project power internationally at different times? What kinds of art are deemed worthy of support, and what artistic forms have been excluded from such patronage? What are the different historical genealogies of this state patronage, and what do they tell us about why Europe remains committed to centralized state funding of the arts when that of the United States is wavering? Continuer la lecture

Publication : « Versailles en ses marbres ».

MOUQUIN Sophie, Versailles en ses marbres, Paris, Arthena, 2018, 448 p.

Présentation de l’éditeur :

Les marbriers qui travaillaient pour le roi de France n’ont sans doute jamais atteint la renommée et la célébrité des peintres, sculpteurs, architectes ou même des ébénistes du Grand Siècle. Ils furent pourtant des artisans indispensables à certaines des plus grandes réalisations des XVIIe et XVIIIe siècles. C’est à partir des sources anciennes, de documents conservés aux Archives nationales et de l’étude des œuvres, que cette « histoire du marbre » est présentée. Explorant tant la matière et les enjeux de son approvisionnement que les hommes qui la façonnaient, ou encore les œuvres produites qui composaient de véritables tableaux polychromes, Versailles en ses marbres apporte un regard inédit sur les décors qui firent la gloire et la beauté des demeures de Louis XIV. Continuer la lecture

Publication : « Artemisia Gentileschi in a Changing Light ».

BARKER Sheila (dir.), Artemisia Gentileschi in a Changing Light, Turnhout, Brepols, 2017, 247 p.

Présentation de l’éditeur :

Raised to the status of an international luminary by her contemporaries and now revered as one of the defining talents of the seventeenth century, Artemisia Gentileschi poses urgent questions for today’s scholars. The recent outpouring of new attributions and archival discoveries has profoundly enriched our knowledge of the artist, but it has also complicated, and sometimes contradicted, the former storyline. If she was illiterate and unschooled, how did she befriend Galileo and court playwright Jacopo Cicognini?  If she could not pay her bills, why did she continue to spend lavishly? How can we define her authorship if we admit workshop productions to her oeuvre? In these essays, an international cast of scholars and experts grapples with these problems, opening new paths of inquiry and laying bare their methodologies in fields as diverse as laboratory analysis, archival research, cultural history, literary analysis, and feminist art history. Among these approaches, connoisseurship takes center stage. By reconstructing  the chronology and rationale of Artemisia’s artistic iter, connoisseurship reveals the richness of her visual dialogues, including those with prominent contemporaries such as Caravaggio, Annibale Carracci, Vouet, Cristofano Allori, and Stanzione; with past artistic giants like Donatello and Michelangelo; and with the various hands who passed through her workshop as collaborators and assistants. These essays infuse our understanding of Artemisia with complexity and nuance, yet they also trace her characteristic mix of intelligence and verve in her art, her correspondence, and her deft social maneuvering, running like a thread through all stages of her life.

Continuer la lecture

Publication : « Van Dyck’s Hosts in Genoa : Lucas and Cornelis de Wael’s Lives, Business Activities and Works ».

STOESSER A., Van Dyck’s Hosts in Genoa : Lucas and Cornelis de Wael’s Lives, Business Activities and Works, Turnhout, Brepols, 2018, 2 vol., 1028 p.

Présentation de l’éditeur :

Long overshadowed by the brilliance of their close friend, Anthony van Dyck, Lucas and Cornelis de Wael, active as artists and dealers in Antwerp, Genoa and Rome, have largely been ignored in Flemish art historical literature. No monograph on them has appeared since 1925. This book aims to rectify this situation by giving a global overview of their wide-ranging pursuits. However, before assessing their personal histories it first examines the historical context, particularly with respect to the 17th-century art market in these three cities, with special attention given to its structure in Genoa, so far neglected in surveys of the Italian markets. Continuer la lecture

Publication : « Johann Michael Wansleben’s Travels in the Levant, 1671-1674 : An Annotated Edition of his Italian Report ».

HAMILTON Alastair (dir.), Johann Michael Wansleben’s Travels in the Levant, 1671-1674 : An Annotated Edition of his Italian Report, Leyde, Brill, 2018, 490 p.

Présentation de l’éditeur :

Johann Michael Wansleben’s Travels in the Levant, 1671–1674 is a hitherto unpublished version of a remarkable description of Egypt and the Levant by the German scholar traveller Wansleben, or Vansleb (as he was known in France). He set out for the East in 1671 to collect manuscripts and antiquities for the French king and also produced the best study of the Copts to have appeared to date. This book recounts his travels in Syria, Turkey and Egypt, his everyday life in Cairo, and his anthropological and archeological discoveries which include the Graeco-Roman Ǧabbārī cemetery in Alexandria, the Roman city of Antinopolis on the Nile, the Coptic monastery of St Anthony on the Red Sea and the Red and White monasteries in Upper Egypt. Continuer la lecture

Conférences : « Le sacré dans la peinture du XVIIIe siècle ».

Jean Jouvenet, La visitation de la Vierge, huile sur toile, 432×441 cm, 1716, Paris, cathédrale Notre-Dame.

Type : conférences.
Date et heure : 8 février 2018 à partir de 18h30.
Lieu : Institut Catholique de Paris, Paris.

Les artistes du siècle des Lumières ne furent pas insensibles aux travaux scientifiques de leurs contemporains. On retrouve dans la peinture religieuse du XVIIIe siècle les traces de ces évolutions. Pour autant le sacré subsiste sous d’autres formes… Continuer la lecture

Publication : « Pretty Gentleman : Macaroni Men and the Eighteenth-Century Fashion World »

MCNEIL Peter, Pretty Gentleman : Macaroni Men and the Eighteenth-Century Fashion World, New Haven, Yale University Press, 2018, 256 p.

Présentation de l’éditeur :

The term ‘macaroni’ was once as familiar a label as ‘punk’ or ‘hipster’ is today. In this handsomely illustrated book devoted to notable 18th-century British male fashion, award-winning author and fashion historian Peter McNeil brings together dress, biography, and historical events with the broader visual and material culture of the late 18th century. For thirty years, macaroni was a highly topical word, yielding a complex set of social, sexual, and cultural associations. Pretty Gentlemen is grounded in surviving dress, archival documents, and art spanning hierarchies and genres, from scurrilous caricature to respectful portrait painting. Celebrities hailed and mocked as macaroni include politician Charles James Fox, painter Richard Cosway, freed slave Julius ‘Soubise’, and criminal parson Reverend Dodd. The style also rapidly spread to neighboring countries in cross-cultural exchange, while Horace Walpole, George III, and Queen Charlotte were active critics and observers of these foppish men. Continuer la lecture

Appel à contribution : « La miniature à l’époque moderne (XVIe-XVIIIe siècles) / Miniatures in the Early Modern Period (16th-18th c.) – Études Épistémè ».

Nicholas Hilliard, Portrait d’une jeune fille âgée de seize ans, 1605, miniature peinte, 5 x 5 cm, Paris, musée du Louvre.

Type : Appel à contribution.
Date limite de l’appel : 05 mars 2018.

2019 marque le 400e anniversaire de la mort de Nicholas Hilliard, orfèvre et miniaturiste de la cour d’Elisabeth Ire et de Jacques Ier. Loué par ses contemporains, il produit l’iconographie de la cour et de la société anglaise qui l’entourent, mais également de saisissantes images des derniers feux de la cour des Valois lors de son séjour parisien dans les années 1570.

Cet anniversaire est l’occasion de revenir sur un medium artistique encore peu étudié par la recherche française: la miniature. Pourtant, les sources textuelles, littéraires et visuelles ne manquent pas. En tant qu’objet à la fois luxueux et sentimental, la miniature est à considérer comme une production hybride, à la croisée entre le portrait, les arts graphiques et l’orfèvrerie. Depuis les années 1980 et la « redécouverte » des miniatures marquée par l’organisation d’une exposition au Victoria & Albert Museum (1983), de nombreuses études ont été menées autour d’aspects techniques, dont témoignent les travaux fondateurs de Jim Murell, Alan Derbyshire et plus généralement les équipes de recherche du musée londonien. Leurs enquêtes et leurs résultats ont notamment permis le réaménagement des salles des miniatures du Victoria & Albert Museum et de la National Portrait Gallery. Continuer la lecture

Publication : « The Challenge of the Sublime : From Burke’s Philosophical Enquiry to British Romantic Art ».

IBATA Hélène, The Challenge of the Sublime : From Burke’s Philosophical Enquiry to British Romantic Art, Manchester, Manchester University Press, 2018, 336 p.

Présentation de l’éditeur :

This book examines the links between the unprecedented visual inventiveness of the Romantic period in Britain and  eighteenth-century theories of the sublime. Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757), in particular, is shown to have directly or indirectly challenged visual artists to explore not just new themes, but also new compositional strategies and visual media such as panoramas and book illustrations, by arguing that the sublime was beyond the reach of painting. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and drawing attention to the process of artistic production itself, rather than the finished artwork. Continuer la lecture

Publication : « Tiepolo’s Pictorial Imagination : Drawings for Palazzo Clerici ».

BARCHAM William, Tiepolo’s Pictorial Imagination : Drawings for Palazzo Clerici, New York, The Morgan Library & Museum, 2017, 63 p.

Présentation de l’éditeur :

In 1740 Giambattista Tiepolo completed his grand ceiling fresco for the Gallery of Palazzo Clerici, Milan. Unlike his previous ceilings, this was a long gallery that could not be seen in its entirety from a single viewpoint; instead, the ceiling unrolls overhead in a scroll-like manner as visitors pass down the long Gallery. A large group of preparatory studies survives for the ceiling, and these permit us to consider how Tiepolo responded to this daunting assignment and produced a series of interrelated figure groups to decorate the vault. Nearly all today at the Morgan Library & Museum and the Metropolitan Museum of Art in New York and the Museo Horne in Florence, these drawings have long been recognized as studies for the ceiling, but never before has there been a sustained attempt to trace Tiepolo’s creative process through the dozens of sheets. William Barcham’s study of the Clerici drawings thus offers new perspectives not only on the Clerici ceiling but more broadly on Tiepolo’s pictorial imagination and inventive genius. Continuer la lecture

Appel à contribution : « Emotions, Art, and Religion in Europe, Africa, and the Americas, c. 1400–1800 ».

Nicolas-Bernard Lépicié, L’enfant en pénitence, XVIIIe siècle, huile sur toile, Lyon, musée des Beaux-Arts de Lyon.

Type : Appel à contribution.
Date limite de l’appel : 30 mars 2018.

Seeking submissions for edited volume: Emotions, Art, and Religion in Europe, Africa, and the Americas, c. 1400–1800.

The “emotional turn” has prompted numerous studies on the history of emotions in the medieval and early modern periods. Many of these studies have been oriented towards texts rather than images, although recently visual culture, especially among medievalists, has played a more prominent role in these investigations. Nevertheless, there is still much to be explored about the role of visual and material culture in the history of emotions in the late medieval and early modern eras. There is also the need for further examination of the emotions within a globalized framework. While there are many ways in which to probe the emotional worlds of the peoples living during this time on either side of the Atlantic, this anthology will offer a more narrow lens through which to examine this topic. Continuer la lecture

Journée d’études : « Pots, Prints, and Politics : Ceramics with an Agenda ».

Bonaparte Dethron’d April 1st 1814. Creamware jug, Cambrian Pottery, Swansea, Wales, transfer-printed in black and painted in enamels, 1814. On loan from a private collection. Exposition Pots with attitude
British satires on ceramics 1760–1830 au British Museum.

Type : journée d’études.
Date et heure : 16 février 2018.
Lieu : British Museum, Londres.

Join British Museum curators from the Departments of Asia, Prints and Drawings, and Britain, Europe, and Prehistory in this one-day study day—held in conjunction with the exhibition Pots with Attitude: British Satire on Ceramics, 1760–1830—addressing historical and modern ceramics that have political and other messages, which have been inspired by prints and printmaking. Continuer la lecture

Appel à communication : « Uncovering the Animal : Skin, Fur, Feathers 1450-1700 ».

Pieter Boel, Renards, XVIIe siècle, huile sur toile, 53 x 65 cm, Paris, musée du Louvre.

Type : appel à communication.
Date limite de l’appel : 15 mars 2018.
Date de l’événement : 29 juin 2018.
Lieu : King’s Colleg, Londres.

Renaissance Skin Workshop – ‘Uncovering the Animal: Skin, Fur, Feathers 1450-1700

This half-day workshop will reflect on the multiple ways in which animal skin and the by-products of the evacuation of humoreal excreta (hair, fur, feathers) were conceptualised and used between 1450 and 1700. Combining different historiographical approaches and sources (textual, material, and visual), the workshop aims to open the field up to a wider audience, strengthen the need to consider animals compared to similar work on human skin and hair, and facilitate an interdisciplinary conversation, from natural history to material culture, on animal skin in a globalised world. Continuer la lecture