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).

Appel à candidature : « Prix Nicole 2018 ».

Nicolas Bertin, Apollon et Phaéton : Phaéton conduisant le char du soleil, XVIIIe siècle, huile sur toile, 89 x 125 cm, Paris, musée du Louvre.

Type : Prix.
Date limite de l’appel : 15 décembre 2017.

Le Prix Nicole, créé à l’initiative de la Société de l’Histoire de l’Art français, récompense chaque année l’auteur d’une thèse de doctorat portant sur l’art français du XVIe, du XVIIe ou du XVIIIe siècle, relative à la peinture, au dessin, à la gravure, à la sculpture, à l’architecture ou aux arts décoratifs. Il est décerné sous l’égide du Comité français d’histoire de l’art.

Le prix Nicole 2017 a été attribué à Astrid Castres pour sa thèse Brodeurs et chasubliers à Paris au XVIe siècle, soutenue en 2016 sous la direction de M. Guy-Michel Leproux, Directeur d’études à l’Ecole Pratique des Hautes Etudes. Continuer la lecture

Publication : « Travel and the British Country House : Cultures, Critiques, and Consumption in the Long Eighteenth Century ».

STOBART Jon (dir.), Travel and the British Country House : Cultures, Critiques, and Consumption in the Long Eighteenth Century, Manchester, Manchester University Press, 2017, 272 p.

Présentation de l’éditeur :

Travel and the British Country House explores the ways in which travel by owners, visitors, and material objects shaped country houses during the long eighteenth century. It provides a richer and more nuanced understanding of this relationship and how it varied according to the identity of the traveller and the geography of their journeys. The essays explore how travel on the Grand Tour, and further afield, formed an inspiration to build or remodel houses and gardens, the importance of country house visiting in shaping taste amongst British and European elites, and the practical aspects of travel, including the expenditure involved. Suitable for a scholarly audience, including postgraduate and undergraduate students, but also accessible to the general reader, Travel and the British Country House offers a series of fascinating studies of the country house that serve to animate the country house with flows of people, goods and ideas. Continuer la lecture

Colloque : « Décor et architecture (XVIe-XVIIe siècle) : entre union et séparation des arts ».

Isaak van Nickelen, Intérieur de St Bavo à Haarlem, 1696, huile sur toile, 177 x 151,8 cm.

Type : colloque.
Date : 16-17 novembre 2017.
Lieu : Université de Lausanne, Quartier Centre, bâtiment Unithèque (Bibliothèque cantonale et universitaire), salle 511.

Le décor, à la période moderne, est considéré comme l’une des parties fondamentales de l’architecture. Grâce à lui, celle-ci se distingue de la simple maçonnerie et peut revendiquer une forme d’excellence. Dans une telle perspective, le décor est une condition essentielle à l’architecture et non pas un élément marginal. Ce statut privilégié n’empêche cependant pas les commentateurs de s’en méfier : ils craignent la prolifération incontrôlée de l’ornement, qu’ils jugent nuisible à l’architecture. Le présent colloque ambitionne d’interroger la manière dont les rapports entre décor et architecture ont été pensés et pratiqués dans l’Europe des XVIe et XVIIe siècles. Continuer la lecture

Colloque : « La natura morta al tempo di Caravaggio ».

Michelangelo Merisi dit Caravage, Bacchus malade, 1593, huile sur toile, 67 x 53 cm, Rome, Museo e Galleria Borghese.

Type : colloque.
Date : 21-22 octobre 2017.
Lieu : Sala Francesco Maria Cardinal del Monte, Palazzo Museo Bourbon del Monte – Santa Maria Tiberina, Perugia.

Programme

samedi 21 octobre à partir de 15h

Saluti
Letizia Michelini (Sindaco di Monte Santa Maria Tiberina)

Paolo Nucci Pagliaro (Presidente Libera Accademia di Studi Caravaggeschi Francesco Maria cardinal del Monte)

ore 15.15
coordina Paolo Nucci Pagliaro Continuer la lecture

Publication : « Lotteries, Art Markets, and Visual Culture in the Low Countries, 15th-17th Centuries ».

RAUX Sophie, Lotteries, Art Markets, and Visual Culture in the Low Countries, 15th-17th Centuries, Leiden, Brill, 2018, 400 p.

Présentation de l’éditeur :

Lotteries, Art Markets, and Visual Culture examines the lotteries as devices for distributing images and art objects, and constructing their value in the former Low Countries. Alongside the fairs and before specialist auction sales were established, they were an atypical but popular and large-scale form of the art trade. As part of a growing entrepreneurial sensibility based on speculation and a sense of risk, they lay behind many innovations. This study looks at their actors, networks and strategies. It considers the objects at stake, their value, and the forms of visual communication intended to boost an appetite for ownership. Ultimately, it contemplates how the lottery culture impacted notions of Fortune and Vanitas in the visual arts. Continuer la lecture

Publication : « Revolutionary Paris and the Market for Netherlandish Art ».

SPIETH Darius A., Revolutionary Paris and the Market for Netherlandish Art, Leiden, Brill, 2018, 514 p.

Présentation de l’éditeur :

Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789. Continuer la lecture

Publication : « Africans in English Caricature 1769–1819 : Black Jokes White Humour ».

ODUMOSU Temi, Africans in English Caricature 1769–1819 : Black Jokes White Humour, Turnhout, Brepols, 2017, 224 p.

 

Présentation de l’éditeur :

Between 1769 and 1819 London experienced an unprecedented growth in the proliferation of texts and images in the popular sphere, engaging learned citizens in discussion and commentary on the most pressing social and political issues of the day. From the repeal of the Stamp Act to the French revolution, the local Westminster election or the abolition of the slave trade, these prints, political pamphlets, plays, novels and periodicals collaborated (sometimes intentionally) in critique, praise and assessment of the country’s changing socio-economic climate. African people were a critical aspect of this world of images, and their presence conveyed much about the implications of travel, colonialism and slavery on the collective psyche. Whether encountered on the streets of the city, in opulent stately homes, or in tracts describing the horrors of the slave trade, the British paid attention to Africans (consciously or not), and developed a means of expressing the impact of these encounters through images. Scholarship has begun to interrogate the presence of Africans in British art of this period, but very little has been written about their place in visual and literary humour created in a metropolitan context. This book fills this scholarly lacuna, exploring how and why satirical artists both mocked and utilized these characters as subversive comic weaponry. Continuer la lecture

Publication : « Colouring the Caribbean : Race and the art of Agostino Brunias ».

BAGNERIS Mia L., Colouring the Caribbean : Race and the art of Agostino Brunias, Manchester, Manchester university press, 2017, 272 p.

Présentation de l’éditeur :

Colouring the Caribbean offers the first comprehensive study of Agostino Brunias’s intriguing pictures of colonial West Indians of colour – so called ‘Red’ and ‘Black’ Caribs, dark-skinned Africans and Afro-Creoles, and people of mixed race – made for colonial officials and plantocratic elites during the late-eighteenth century. Although Brunias’s paintings have often been understood as straightforward documents of visual ethnography that functioned as field guides for reading race, this book investigates how the images both reflected and refracted ideas about race commonly held by eighteenth-century Britons, helping to construct racial categories while simultaneously exposing their constructedness and underscoring their contradictions. The book offers provocative new insights about Brunias’s work gleaned from a broad survey of his paintings, many of which are reproduced here for the first time. Continuer la lecture

Publication : « Art, commerce and colonialism 1600–1800 ».

BARKER Emma (dir.), Art, commerce and colonialism 1600–1800, Manchester, Manchester university press, 2017, 200 p.

Présentation de l’éditeur :

The book examines how increasing engagement with the rest of the world transformed European art, architecture and design. It considers how commercial activity and colonial ventures gave rise to new and diverse forms of visual and material culture across the globe. Drawing on a wide range of recent scholarship, it offers a new perspective that challenges Eurocentric approaches.

Emma Barker is Senior Lecturer in Art History at The Open University. Continuer la lecture

Publication : « The Painter’s Touch : Boucher, Chardin, Fragonard ».

LAJER-BURCHARTH Ewa, The Painter’s Touch : Boucher, Chardin, Fragonard, Princeton, Princeton university press, 2018, 336 p.

Présentation de l’éditeur :

What can be gained from considering a painting not only as an image but also a material object? How does the painter’s own experience of the process of making matter for our understanding of both the painting and its maker? The Painter’s Touch addresses these questions to offer a radical reinterpretation of three paradigmatic French painters of the eighteenth century. In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of François Boucher, Jean-Siméon Chardin, and Jean-Honoré Fragonard, entirely recasting our understanding of these painters’ practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment. Continuer la lecture

Publication : « Galileo’s Thinking Hand : Form and Research Around 1600 ».

BREDEKAMP Horst, Galileo’s Thinking Hand : Form and Research Around 1600, Berlin, De Gruyter, 2017, 400 p.

Présentation de l’éditeur :

Contemporary biographies of Galilei emphasize, in several places, that he was a masterful draughtsman. In fact, Galilei studied at the art academy, which is where his friendship with Ludovico Cigoli developed, who later became the official court artist. The book focuses on this formative effect – it tracks Galilei’s trust in the epistemological strength of drawings. It also looks at Galilei’s activities in the world of art and his reflections on art theory, ending with an appreciation of his fame; after all, he was revered as a rebirth of Michelangelo. For the first time, this publication collects all aspects of the appreciation of Galilei as an artist, contemplating his art not only as another facet of his activities, but as an essential element of his research.

Plus d’informations sur le site de l’éditeur.

 

Aide : « Bourse Michel Baridon ».

Hubert Robert, Jardin d’une villa italienne, 1764, huile sur toile, 99 x 133 cm, Ottawa, musée des Beaux-Arts du Canada.

Type : Bourse.
Date limite de l’appel : 30 novembre 2017.

Michel Baridon, historien et philosophie de l’art des jardins et du paysage était membre du conseil de la Fondation des Parcs et Jardins de France qui a décidé d’instituer une bourse d’études annuelle de 10 000 euros intitulée « Bourse Michel Baridon » pour lui rendre hommage et perpétuer sa mémoire. Continuer la lecture

Aide à la publication : « Prix Bruno Pons 2017 ».

Charles Germain de Saint-Aubin, Feu d’artifices dans un parc, 1749, aquarelle et encre noire sur papier, 26 x 36 cm, Paris, musée du Louvre.

Créée en 2009 sous l’égide de la Fondation de France grâce au legs Geneviève Pons, la fondation Bruno Pons décerne tous les deux ans un prix dans le domaine de l’histoire de l’art.

Le Prix Bruno Pons a pour vocation de récompenser, sous la forme d’aide à la publication, une thèse de doctorat traitant de l’architecture et/ ou des arts décoratifs en France et de son influence en Europe au XVIIIèmesiècle, deux domaines dans lesquels Bruno Pons était un chercheur internationalement reconnu.

Ce prix est pour l’année 2017 d’un montant de 4 600 euros. Il sera versé directement à l’éditeur et ne pourra en aucun cas être versé au lauréat. Continuer la lecture

Publication : « Painted in Mexico, 1700-1790, Pinxit Mexici ».

KATZEW Ilona (dir.), Painted in Mexico, 1700-1790, Pinxit Mexici, Londres et New York, Prestel, 2017, 512 p.

Présentation de l’éditeur :

This stunning volume represents the first serious effort to reposition the history of 18th-century Mexican painting, a highly vibrant period marked by major stylistic changes and the invention of new iconographies. Exquisitely illustrated with newly commissioned photography of never-before-published artworks, the book provides a broad view of the connections of Mexican painting with transatlantic artistic trends and emphasizes its own internal developments and remarkable pictorial output. During this time painters were increasingly asked to create mural-size paintings to cover the walls of sacristies, choirs, staircases, cloisters, and university halls among others. Significantly, the same artists also produced portraits, casta paintings (depictions of racial mixing), folding screens, and finely rendered devotional images, attesting to their extraordinary versatility. Authored by leading experts in the field, the book’s essays address the tradition and innovation of Mexican painting, the mobility of pictures within and outside the viceroyalty, the political role of images, and the emphasis on ornamentation. Rounding out this volume are over 130 catalogue entries that offer new and authoritative interpretations.

Plus d’informations sur le site de l’éditeur.

 

Appel à publication : « Re-inventing Ovid’s Metamorphoses, 1300-1700 ».

Gian Lorenzo Bernini, Apollon et Daphné, 1622-1625, marbre, 243 cm, Rome: galerie Borghese.

Type : Appel à publication.
Date limite de l’appel : 15 février 2018.

INTERSECTIONS. YEARBOOK FOR EARLY MODERN STUDIES (http://www.brill.com/publications/intersections)

The importance of Ovid’s Metamorphoses as a source for the visual arts and literature of the early modern period has long been recognized. There is an ongoing discussion, however, on the role of Ovid’s text in the process of reception, because individual representations, especially in the visual arts, often show ‘deviations’ from Ovid’s narrative. How can these ‘deviations’ be explained? Bodo Guthmüller has stressed that many artists (and writers) did not use the original Latin text of the Metamorphoses, or not even a fairly accurate translation, but free adaptations, either in Latin or in the vernacular languages. This may be true, but it is not sufficient to explain the whole process of reception, especially not the creativity which seems to be at the core of the artistic and literary inventions. Continuer la lecture