Archives par étiquette : Science

Exposition : « Chic emprise. Culture, usages et sociabilités du tabac du XVIe au XVIIIe siècle ».

Pierre Allais, Portrait de madame Geoffrin prenant du tabac, 1747, huile sur toile, 98 x 80 cm, collection particulière.

Type : exposition.
Date de l’événement : du 22 juin au 23 septembre 2019.
Lieu : Musée du Nouveau Monde 10, rue Fleuriau – 17000 La Rochelle.

De l’Amérique du Nord en passant par les Caraïbes jusqu’au royaume du Kongo, le tabac est une plante incontournable de l’époque moderne (XVIe-XVIIIe siècle). À la fois produit de consommation, plaisir addictif et marqueur social, il s’est enraciné durablement dans l’ensemble des strates de la société en imprégnant aussi bien les mœurs aristocratiques et bourgeoises que populaires. Originaire d’Amérique, le tabac est rapidement importé avec succès en Europe où il a immédiatement entraîné de vifs débats entre ses défenseurs et ses opposants. Aujourd’hui discréditée et blâmée pour ses effets sur la santé, cette plante bénéficiait alors d’un statut différent, ses prétendues vertus curatives ont parfois été louées au point d’être l’objet de véritables discours de médicalisation. Continuer la lecture

Appel à communication : Ars et Scientia

Joseph Wright of Derby, An Experiment on a Bird in the Air Pump, 1768, huile sur toile, 183 x 244 cm, Londres, National Gallery.

Type : Appel à communication

Date limite de l’appel : 16 juillet 2017

Date de l’événement : 27 octobre 2017

Lieu : Cleveland, Case Western Reserve University

Ars et Scientia: Intersections of Science and the Visual Arts, October 27th, 2017

Despite the semantic divide that seems to separate art and science in modern culture, the boundaries between the two disciplines have always been fluid and permeable. From the earliest recorded botanical illustrations, painted on papyrus scrolls in Egypt in the 2nd century AD, to contemporary artist Josh Kline’s use of 3D printing in his work, art and science have long been used in tandem to make sense of the world and explore our place within it. The working notes of printers like Louis-Marin Bonnet as they experimented with the technique of chalk-manner engraving resemble nothing so much as a scientist recording data and observations for his experiments. Representations of the scientist at work in his laboratory also abound, from Pieter Bruegel’s Alchemist to Joseph Wright of Derby’s An Experiment on a Bird in the Air Pump, and serve as social commentaries on the role of the scientist in society. More recently, scientific technologies have proven to be invaluable tools for the modern art historian and museum curator, allowing us to better understand artists’ working methods and materials through the use of imaging technology and chemical analysis. Continuer la lecture

Publication : Vision and Its Instruments Art, Science, and Technology in Early Modern Europe.

PAYNE Aline (dir.), Vision and Its Instruments Art, Science, and Technology in Early Modern Europe, State College, Penn State university press, 2015, 304 p.

PAYNE Alina (dir.), Vision and Its Instruments Art, Science, and Technology in Early Modern Europe, State College, Penn State university press, 2015, 304 p.

Présentation de l’éditeur :

Starting with Brunelleschi’s invention of perspective and Galileo’s invention of the telescope—two inaugural moments in the history of vision, from two apparently distinct provinces, art and science—this volume of essays by noted art, architecture, science, philosophy, and literary historians teases out the multiple strands of the discourse about sight in the early modern period. Looking at Leonardo and Gallaccini, at botanists, mathematicians, and artists from Dante to Dürer to Shakespeare, and at photography and film as pointed modern commentaries on early modern seeing, Vision and Its Instruments revisits the complexity of the early modern economy of the image, of the eye, and of its instruments. The book explores the full range of early modern conceptions of vision, in which mal’occhio (the evil eye), witchcraft, spiritual visions, and phantasms, as well as the artist’s brush and the architect’s compass, were seen as providing knowledge equal to or better than newly developed scientific instruments and practices (and occasionally working in conjunction with them). The essays in this volume also bring a new dimension to the current discourse about image production and its cultural functions.

Pour en savoir plus, rendez-vous sur le site de l’éditeur.

Journée d’étude : Catalysts of knowledge. Early modern cultures of collecting.

Cornelis de Baellieur, Intérieur d'une galerie de tableaux et d'objets d'art, 1637, huile sur bois, 93 x 123 cm, Paris, musée du Louvre.

Cornelis de Baellieur, Intérieur d’une galerie de tableaux et d’objets d’art, 1637, huile sur bois, 93 x 123 cm, Paris, musée du Louvre.

Type : journée d’étude.
Date : mardi 15 décembre 2015.
Lieu : université de Gand, Belgique.

This one-day workshop on early modern cultures of collecting aims to bring together approaches from the domains of art history, the history of science, and material culture studies. Of particular interest are the processes through which collected objects became sources of artisanal, artistic, or scientific knowledge and innovation. Users and beholders of collections were invited to observe, investigate, depict, and question individual objects and their interrelationships, and as such, collections could become ‘catalysts of knowledge’.

Workshop is free of charge, but places are limited, so please register online at :

Programme :

Session 1: Collecting in the Southern Netherlands
Session chair: Koenraad Jonckheere

Marlise Rijks
The epistemology of collecting. Artists’ and artisans’ collections in
seventeenth-century Antwerp.

Nadia Baadj
Early Modern Cabinets as Catalysts of Knowledge.

Jan Muylle
The Furniture of Count Anthony of Arenberg (Brussels, 1617).


Session 2: Noble and bourgeois collectors
Session chair: Christine Göttler

Nuno Senos
Science and Empire in the collection of the Duke of Bragança.

Renata Ago
Bourgeois collectors and their supporters (Rome, XVII century).

Coffee / Tea

Session 3: The global world
Session chair: Sven Dupré

Claudia Swan
Rariteyten and other specimens: VOC goods, liefhebbers, and Dutch
collections 1600-1650.

Christine Göttler
A Javanese Dagger in a constcamer painting by Frans Francken the
Younger: Collecting Idols and Weapons in the Seventeenth-Century

Concluding remarks.
Wijnand Mijnhardt

Colloque : Science, Nature and Art in the Time of the Baroque.

Johannes Blaeu, Observatoire de Tycho Brahe, 1667, gravure sur cuivre mise en couleurs, Paris, Bibliothèque nationale de France.

Johannes Blaeu, Observatoire de Tycho Brahe, 1667, gravure sur cuivre mise en couleurs, Paris, Bibliothèque nationale de France.

Type : Colloque.
Date : Du 09 au 11 novembre 2015.
Lieu : Séville (Focus-Abengoa Foundation).
Sous la direction de : Antonio-Miguel Bernal Rodríguez, University of Seville. 

With the birth of the “new science” in the wake of Bacon, the theories on the world and nature ceased being essentially poetic –as they were considered in the long inherited mediaeval tradition– and began to be felt as essentially scientific. Modern science and the development of the artistic culture of the Baroque came hand in hand and became the cornerstones of the history of European culture. In this modern science, the discovery of the foundations of nature led to questions on the relationship between people and the natural environment, which went beyond living nature to open up new avenues to the theories of light and colour, space and time, as expressed in the creative brilliance of Velázquez in the gardens of Villa Medicis. The “vision” of nature took on a variety of projections through the art of the Baroque. The conception of the natural world under the impetus of the 17th and 18th century scientists became increasingly removed from the previous allegories and symbolism. The landscape as an expressive medium emerged in pure form as man interacted with nature. Recalling among others, André Mollet in his treatise Le Jardin de Plaisir (1651), from the gardens of delights of the 16th century to the gardens of love of the 17th century, natural history experienced a qualitative leap in the representation of nature as art and in art under the guise of collecting and as visual culture. This art and science in the time of the Baroque were not antagonistic and instead were interrelated in the construction of a new pictorial time and space where nature became viewed even more intensely less as a divine hieroglyphic and more as visual culture, a faithful reflection of the influence of science on art.

Registration, diploma and credits recognition By registering at Focus-Abengoa official website, attendants will be awarded a certified diploma and will be able to gain credits. Loyola University Andalucia, Pablo de Olavide University and University of Seville will officially award ECTS credits (European Credit Transfer System). Price: 30 euros (only for diploma/credits). Scholarships Scholarships will be granted to obtain diplomas (limited). More information available on our website. The full information is available at the following link   :

Programme :

Lundi 9 novembre 

Presentation 20:00 h. Inaugural Conference: Poussin’s Reflections on Man, Nature and Art Keith Christiansen, Metropolitan Museum of New York.

Mardi 10 novembre

10:00 h. Jesuits in Baroque culture: art, education, science Guillermo Rodríguez Izquierdo SJ., Loyola University Andalucia.

11:00 h. Natural history and visual culture in the seventeenth century José Ramón Marcaida, University of Cambridge.

12:00 h. Break.

12:30 h. Science, the sciences and Baroque Javier Viar, Bilbao Fine Arts Museum.

17:00 h. Symbolic Baroque Ornithology: birds in books of emblems and prints of the 17th century José Julio García Arranz, University of Extremadura.

18:00 h. 17th century Italy: the breeze through the leaves Manuela Mena, Prado National Museum.

19:00 h. Organ concert leaded by José Enrique Ayarra Jarne, Focus-Abengoa Foundation organist, at Hospital de los Venerables Church.

Mercredi 11 novembre

10:00 h. Still life: the vanities in the work of Valdés Leal Enrique Valdivieso, University of Seville.

11:00 h. Velázquez and nature Guillaume Kienzt, Louvre Museum.

12:00 h. Round table About landscape Presenter: Juan Fernández Lacomba Participants: Javier Viar, José Ramón Marcaida and Guillaume Kienzt.

13:30 h. Closure.

15:30 h. Campus visit to Focus-Abengoa Sanlúcar la Mayor Landscapes of Guadiamar Fernando Amores and Juan Fernández Lacomba.