Archives de catégorie : Publications


Publication : « Fonder les institutions artistiques : l’individu, la communauté et leurs réseaux en question », actes des journées d’étude ACA-RES (8-9 décembre 2016)



Programme ACA-RES

Université Toulouse Jean Jaurès, Laboratoire FRAMESPA UMR5136

Les premières journées d’étude du programme ACA-RES (Les académies d’art et leurs réseaux dans la France préindustrielle) se sont tenues les 8-9 décembre 2016 au Centre allemand d’histoire de l’art Paris, autour du thème :

« Fonder les institutions artistiques : l’individu, la communauté et leurs réseaux en question »

Première rencontre d’une série de trois préparant la tenue d’un colloque de synthèse en 2019, les discussions font aujourd’hui l’objet d’une diffusion sur la page Hypothèses du programme de recherche, dans la rubrique Les papiers d’ACA-RES. Ces actes sont un point d’étape dans la réflexion : ils rendent compte des questionnements soulevés et offrent un matériel documentaire qui pourra être complété et réinterrogé par la suite. Au présent compte-rendu s’adjoignent donc les « Brefs historiques » des écoles de chaque ville traitée, et les articles issus des communications. Laissés volontairement in progress, ils sont une invitation à rejoindre et prolonger la discussion.

Sur la page Hypothèses, retrouvez également l’appel à stage « Documentation et recherche appliquée » et les autres actualités.

Appel à publication : IASblog Staff Writers

Bernardo Bellotto, Vue de Dresde : le nouveau marché, 1749 – 1751, huile sur toile, 136 x 236 cm, Dresde, Gemäldegalerie Alte Meister.

Type : Appel à publication

Date limite de l’appel : 31 mai 2017

The Italian Art Society’s IASblog seek applications for staff writers to contribute regular features for the 2017-2018 term. IASblog publishes short articles on all aspects of Italian art and architecture from prehistory to the present. These articles can include, but are not limited to, historical notes tied to anniversary dates of births, deaths, or other significant events related to Italian artists, architects, designers, and patrons, as well as historians and critics of Italian art. Notes on current exhibitions, new publications, and news items relevant to the study and conservation of Italian art and architecture are also welcome. Continuer la lecture

Publication : « Oxford Botanic Garden and Arboretum : A Brief History ».

HARRIS Stephen, Oxford Botanic Garden and Arboretum : A Brief History, Oxford: Bodleian Library, 2017, 144 p.

Oxford Botanic Garden is the oldest surviving botanic garden in Britain and has occupied its site in central Oxford since 1621. Conceived as a place to grow medicinal plants, born in the turmoil of civil war and nurtured during the restoration of the monarchy, the garden has, unsurprisingly, a curious past.

By tracing the work and priorities of each of the garden’s keepers, this book explores its importance as one of the world’s oldest scientific plant collections. It tells the story of the planting of the garden by its first keeper, Jacob Bobart, and his son, together with how they changed the garden to suit their own needs. The story develops during the eighteenth century as the garden grew exotic plants under glass and acquired a fine succulent collection but then experienced a downturn under the stewardship of the eccentric Professor Humphrey Sibthorp (famous for giving just one lecture in thirty-seven years). Finally, the narrative throws light on the partnership of gardener William Baxter and academic Charles Daubeny in the early nineteenth century, which gave the garden its glasshouses and ponds and contributed to its survival to the present day. Continuer la lecture

Publication : « Eighteenth-Century Women Artists : Their Trials, Tribulations, and Triumphs ».

CHAPMAN Caroline, Eighteenth-Century Women Artists : Their Trials, Tribulations, and Triumphs, Londres, Unicorn Press, 2017, 176 p.

Présentation de l’éditeur :

The eighteenth century was an age when not only the aristocracy, but a burgeoning middle class, had the opportunity to pursue their interest in the arts. But these opportunities were generally open only to men; any woman who wished to succeed as an artist still had to overcome numerous obstacles. In a society in which women were expected to marry, become mothers, and conform to rigid social conventions, becoming a professional artist was a controversial choice. Nevertheless, if a woman possessed charm and ambition, and united her talent with hard work, success was possible.

Eighteenth-Century Women Artists celebrates the work of women who had the tenacity and skill (and sometimes the necessary dash of luck) to succeed against the odds. Caroline Chapman examines the careers and working lives of celebrated artists like Angelica Kauffman and Elisabeth Vigée Le Brun as well as the equally interesting work of artists who have now mostly been forgotten. In addition to discussing their varied artworks, Chapman considers artists’ studios, the functioning of the print market, how art was sold, the role of patrons, and the rise of the lady amateur. It is enriched by over fifty color images, which offer a rich selection of art from the time.

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


Publication : « Blake, Myth, and Enlightenment : The Politics of Apotheosis ».

FALLON David, Blake, Myth, and Enlightenment : The Politics of Apotheosis, Londres, Palgrave Macmillan, 2017, 343 p.

Présentation de l’éditeur :

This book provides compelling new readings of William Blake’s poetry and art, including the first sustained account of his visionary paintings of Pitt and Nelson. It focuses on the recurrent motif of apotheosis, both as a figure of political authority to be demystified but also as an image of utopian possibility. It reevaluates Blake’s relationship to Enlightenment thought, myth, religion, and politics, from The French Revolution to Jerusalem and The Laocoön. The book combines careful attention to cultural and historical contexts with close readings of the texts and designs, providing an innovative account of Blake’s creative transformations of Enlightenment, classical, and Christian thought.

David Fallon is Senior Lecturer in English at the University of Sunderland, UK. From 2009 to 2012 he was a British Academy Postdoctoral Fellow at the University of Oxford. He has published on Blake and on eighteenth-century and Romantic-period booksellers and co-edited Romanticism and Revolution: A Reader (2011) with Jon Mee. Continuer la lecture

Publication : Kunstchronik Heft 4 / April 2017

Jacques-Louis David, Le Serment du jeu de Paume, 1791, dessin, 101,2 x 66 cm, Versailles, Musée national du Château de Versailles

KUNSTCHRONIK : Monatsschrift für Kunstwissenschaft, Museumswesen und Denkmalpflege Herausgegeben vom Zentralinstitut für Kunstgeschichte in München Mitteilungsblatt des Verbandes Deutscher Kunsthistoriker e.V.177, 70. Jahrgang / Heft 4 / April 2017 Continuer la lecture

Publication : « Velázquez Re-Examined : Theory, History, Poetry, and Theatre ».

TIFFANY Tanya (dirs.) et KNOX Giles (dirs.), Velázquez Re-Examined : Theory, History, Poetry, and Theatre, Turnhout, Brepols, 2017, 126 p.

Présentation de l’éditeur :

Featuring the work of five prominent scholars, this collection analyzes the paintings of Diego Velázquez within the cultural, intellectual, and political frameworks of seventeenth-century Spain. Each essay offers novel insight into the greatest artist of the Spanish Golden Age by bringing a remarkable range of material to bear upon the interpretation of his works. Laura Bass considers painting, poetics, and the Spanish canon of arts and letters in an examination of Velázquez’s trenchant portrayal of the writer Luis de Góngora. Turning to the nexus between theory and practice, Giles Knox explores how Velázquez engaged with sculpture both as a young man mastering his craft and as a painter to King Philip IV. Fernando Marías uses sixteenth- and seventeenth-century artistic theory to shed light on the complex narrative structure of a work painted by Velázquez in Italy: Joseph’s Bloodied Coat, in which the artist placed himself in competition with the celebrated history painters of Rome. Through an investigation of classical philosophy as understood by Velázquez’s contemporaries, Aneta Georgievska-Shine locates his enigmatic Aesop and Menippus within discourse on wisdom, paradox, and humor. Javier Portús places paintings and theatrical productions within the social and political matrix of the Spanish court, offering a powerful new reading of the space for which Velázquez created the Surrender of Breda. Continuer la lecture

Publication : « The building site in eighteenth-century Ireland ».

GIBNEY Arthur, The building site in eighteenth-century Ireland, Dublin, Four Courts Press, 2017, 320 p.

Présentation de l’éditeur :

his study by the late Arthur Gibney takes you among labourers, craftspeople, contractors, builders and designers as they populate the building sites of eighteenth-century Ireland. Gibney tells a story that has never been told so comprehensively before. What kind of contracts bound those involved? How much did it cost to bring a cargo of oak to the Dublin docks from Riga or Shillelagh – or of fir from Trondheim – and what kind of roof trusses or floor framing was it used for? What was distinctively Irish about these structural features? What did plumbers do? How did roofers choose between slates and shingles and pantiles, and how did this choice affect the profile of a roof? Based on extensive documentary research and on a lifetime of experience of building and conservation, Gibney takes the interested layperson, the student, the architect and the conservationist behind the facades to give us an understanding of paint colours such as Venetian red and Spanish brown, the manufacture of stucco, the variations of Irish, English and French glass, the composition of masonry walls, and much more, in our great legacy of Georgian buildings. Continuer la lecture

Publication : « La Querelle des Pantomimes : Danse, culture et société dans l’Europe des Lumières ».

FABBRICATORE Arianna Beatrice, La Querelle des Pantomimes : Danse, culture et société dans l’Europe des Lumières, Rennes, PUR, 2017, 472 p.

Présentation de l’éditeur :

Qui a inventé le ballet-pantomime ? Qui a le droit d’en dicter les règles ? Entre 1774 et 1776, une polémique éclate à Milan entre deux maîtres de ballets, l’Italien Gasparo Angiolini et le Français Jean-Georges Noverre. Alors que les deux « docteurs en cabrioles » se disputent avant tout un titre de « réformateur de la danse théâtrale » qui suscite l’hilarité, une polémique enflamme rapidement l’intelligentsia milanaise, divisée entre les deux partis. En explorant les textes et les contextes, ce livre invite à une immersion dans la culture et la société occidentale à travers l’étude d’un phénomène culturel marquant de la modernité européenne. Continuer la lecture

Publication : « La dynastie Bonnart : Peintres, graveurs et marchands de modes à Paris sous l’Ancien Régime ».

CUGY Pascale, La dynastie Bonnart : Peintres, graveurs et marchands de modes à Paris sous l’Ancien Régime, Rennes, PUR, 2017, 400 p.

Présentation de l’éditeur :

Cet ouvrage étudie les quatre générations de la dynastie Bonnart, une famille d’artistes et de marchands implantée rue Saint-Jacques à Paris entre 1642 et 1762. Officiant dans les domaines de l’estampe, de la peinture et du dessin, elle est particulièrement célèbre pour son activité dans celui de la gravure de mode et notamment pour l’invention du portrait en mode, représentant les vedettes du siècle sous l’aspect de jeunes mannequins attrayants.

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

Publication : Kunst + Architektur in der Schweiz 1/2017

Giuseppe Antonio Petrini, Fresques, XVIIIe siècle, Grand Salon, Saint-Léger (Suisse), Château d’Hauteville

k+a. Kunst + Architektur in der Schweiz | Art + architecture en Suisse| Arte + Architettura in Svizzera

Jg. | Année | Anno 68 (2017), Nr. 1: Möbel und Intérieurs | Meubles et intérieurs | Mobili e interni

Monica Bilfinger: Das schweizerische Parlamentsgebäude – von Kunsthandwerk und zeitgenössischem Design, p. 4

Interview | Interview | Intervista Continuer la lecture

Publication : The Burlington Magazine, April 2017 issue

Madame la Marquise de Pompadour d’après les pierres gravées de Guay graveur du Roi d’après François Boucher, Suite d’estampes : Les Petits Buveurs de lait, 1751, gravure, 18,6 x 14,8 cm, New York, Metropolitan Museum.


Exports and acquisitions: tears or cheers? by JEREMY WARREN


An untraced painting by Caravaggio and its Early Christian iconography by RICCARDO GANDOLFI

The Giustiniani collection, Caravaggio and Giacinto Gimignani by URSULA VERENA FISCHER PACE

The earliest known version of Madame de Pompadour’s ‘Suite d’Estampes’ rediscovered by SUSAN M. WAGER Continuer la lecture

Publication : « The Power of Objects in Eighteenth-Century British America ».

VAN HORN Jennifer, The Power of Objects in Eighteenth-Century British America, Chapel Hill, The University of North Carolina Press, 2017, 456 p.

Présentation de l’éditeur :

Over the course of the eighteenth century, Anglo-Americans purchased an unprecedented number and array of goods. The Power of Objects in Eighteenth-Century British America investigates these diverse artifacts—from portraits and city views to gravestones, dressing furniture, and prosthetic devices—to explore how elite American consumers assembled objects to form a new civil society on the margins of the British Empire. In this interdisciplinary transatlantic study, artifacts emerge as key players in the formation of Anglo-American communities and eventually of American citizenship. Deftly interweaving analysis of images with furniture, architecture, clothing, and literary works, Van Horn reconstructs the networks of goods that bound together consumers in Boston, New York, Philadelphia, and Charleston. Continuer la lecture

Publication : « Body Narratives. Motion and Emotion in the French Enlightenment ».

CAVIGLIA Susanna (dir.), Body Narratives : Motion and Emotion in the French Enlightenment, Turnhout, Brepols, 2017, 291 p.

Présentation de l’éditeur :

The first art historical interrogation of the body as an object and discursive ensemble that questions the power and limits of visual representation, this book explores, in broad terms, the representations and understandings of the body’s physical and psychological movement’s meanings during the French Enlightenment in its many guises—artistic, esthetic, social, and erotic. It is centered on the fundamental tension between stasis and movement, which is both constitutive of art historical reflection and embedded in the body’s existence. Stasis and movement not only correspond to the potential modalities of the body’s visual representations, but they are also the conditions which govern the relationship between the viewer and the artwork as well as that between the viewers and the spaces in which they encounter the represented body. Based on this dialectic, the present book proposes a dynamic approach of the body considered as a focus of composition, an object of interrogation, and a site of meaning during a time when the body became the focus of an increasing number of artistic, technical, scientific, and philosophical inquiries directly connected to larger historical forces and discourses. During this time, the body’s stasis and movement became the vehicles for recording cultural and social transformations but also the producers of new meanings inherent to the body itself and unveiled by the development of the new scientific and philosophical approaches of it. Continuer la lecture

Publication : « Louis Le Nain : La Forge ».

MILOVANOVIC Nicolas, Louis Le Nain : La Forge, Paris, Somogy/Louvre, 2017, 48 p.

Présentation de l’éditeur :

Portrait de groupe dans une forge : travailleurs peints sur le vif ? reconstitution d’atelier ? portrait de famille ? On est frappé d’emblée par le calme qui semble habiter les êtres, par l’équilibre de la composition, la justesse et la précision de la touche, l’intensité des regards qui convergent vers le spectateur, la puissance du coloris, cette « mélancolie triste », enfin, qui enveloppe la scène.
La peinture des frères Le Nain connaît une vogue durable dès le XVIIe siècle, sans doute en raison de sa parenté d’inspiration avec l’école nordique. Portraitistes reconnus, c’est surtout leur prédilection pour les sujets de genre et leur habileté à représenter le quotidien qui fait le succès de leur atelier.
La Forge, considérée très tôt comme le chef-d’œuvre de Louis, semble concentrer tout ce qui caractérise l’art des Le Nain : le refus de l’anecdote, la puissance de l’évocation, un temps qui semble arrêté, une qualité de silence et, surtout, l’importance primordiale donnée aux êtres humains.

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