{"title":"Guerard Louf, « natif du Trect ». Un artiste néerlandais à Rouen (1464 – vers 1480)","authors":"Caroline Blondeau-Morizot","doi":"10.3917/rda.208.0008","DOIUrl":"https://doi.org/10.3917/rda.208.0008","url":null,"abstract":"","PeriodicalId":42900,"journal":{"name":"REVUE DE L ART","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46864378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"L’âme de la peau","authors":"E. Pernoud","doi":"10.3917/rda.208.0030","DOIUrl":"https://doi.org/10.3917/rda.208.0030","url":null,"abstract":"","PeriodicalId":42900,"journal":{"name":"REVUE DE L ART","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44794126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Les Vuillard(s) d’André Chastel","authors":"Françoise Levaillant","doi":"10.3917/rda.208.0039","DOIUrl":"https://doi.org/10.3917/rda.208.0039","url":null,"abstract":"","PeriodicalId":42900,"journal":{"name":"REVUE DE L ART","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41625285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jean Beugier, alias le Maître des Portraits princiers","authors":"Stéphanie Deprouw-Augustin","doi":"10.3917/rda.208.0017","DOIUrl":"https://doi.org/10.3917/rda.208.0017","url":null,"abstract":"","PeriodicalId":42900,"journal":{"name":"REVUE DE L ART","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48801444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"De Notre-Dame au mécénat","authors":"B. Jobert","doi":"10.3917/rda.207.0005","DOIUrl":"https://doi.org/10.3917/rda.207.0005","url":null,"abstract":"","PeriodicalId":42900,"journal":{"name":"REVUE DE L ART","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45416956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Autour d’un tableau méconnu du Louvre : Bertholet Flémal, François Chauveau, Sébastien Leclerc, trois artistes pour un commanditaire à l’heure de la révocation de l’édit de Nantes.","authors":"Anne le Pas de Sécheval","doi":"10.3917/rda.207.0057","DOIUrl":"https://doi.org/10.3917/rda.207.0057","url":null,"abstract":"","PeriodicalId":42900,"journal":{"name":"REVUE DE L ART","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42997697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A building as emblematic as it is complex, the Petite Galerie has been the object of numerous shidies and the first phases of its constaiction gave rise to a multitude of hypotheses. The discovery of new documents however leads to the interrogation of the established consensus and the proposition of a renewed history of this part of the palace. The project was developed around 1566, but the work only went as far as the foundations. Henri III had die work resumed, probably around 1580, raising the essential part of the ground floor, but soon after had the central part demolished. This was then reconstructed under Henri IV, who had the building completed and saw to the achievement of the sculptures that still decorate the lower register. In combination with a meticulous examination of the subsisting parts, this new information allows, above all, the conclusion that, if the initial plan was undoubtedly conceived by Pierre Lescot, the ground floor was built according to new drawings most likely due to Baptiste Androuet du Cerceau. This monument thus constiaites a rare preserved example of royal buildings under Henri III and as a result, its facades appear particularly interesting for the understanding of the evolution of French architecture in the 1580s.
{"title":"Les origines de la Petite Galerie du Louvre : nouveaux documents et nouvelles interprétations","authors":"Étienne Faisant, G. Fonkenell","doi":"10.3917/rda.207.0041","DOIUrl":"https://doi.org/10.3917/rda.207.0041","url":null,"abstract":"A building as emblematic as it is complex, the Petite Galerie has been the object of numerous shidies and the first phases of its constaiction gave rise to a multitude of hypotheses. The discovery of new documents however leads to the interrogation of the established consensus and the proposition of a renewed history of this part of the palace. The project was developed around 1566, but the work only went as far as the foundations. Henri III had die work resumed, probably around 1580, raising the essential part of the ground floor, but soon after had the central part demolished. This was then reconstructed under Henri IV, who had the building completed and saw to the achievement of the sculptures that still decorate the lower register. In combination with a meticulous examination of the subsisting parts, this new information allows, above all, the conclusion that, if the initial plan was undoubtedly conceived by Pierre Lescot, the ground floor was built according to new drawings most likely due to Baptiste Androuet du Cerceau. This monument thus constiaites a rare preserved example of royal buildings under Henri III and as a result, its facades appear particularly interesting for the understanding of the evolution of French architecture in the 1580s.","PeriodicalId":42900,"journal":{"name":"REVUE DE L ART","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41929972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"« La sagesse de ce monde est folie auprès de Dieu ».","authors":"Antonia Martínez Ruipérez","doi":"10.3917/rda.207.0015","DOIUrl":"https://doi.org/10.3917/rda.207.0015","url":null,"abstract":"","PeriodicalId":42900,"journal":{"name":"REVUE DE L ART","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46064118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The recently published book by Wolfgang Drost on the subject of the art criticism of five major writers (.Dichten), Diderot, Stendhal, Heine, Gautier and Baudelaire, takes up all of the many works that he devoted to them during his long career, but poses several problems. The term Dichter (as opposed to the simple expression man of letters) is not self-evident. The category thus defined is of no interest to art historians. It is understandable that historians of literature are tied to the writings about art of famous authors. However, either these writings are considered as mere documentary sources, allowing greater understanding of their literary works strict sensu, or else they are recognized for their own literary value, if only for the importance of the descriptions, as in the poetry and novels of the period. Nevertheless, it is rare to find studies devoted to this literary aspect that Wolfgang Drost also neglects. Ordinarily the question raised is to know whether or not this Dichter was a good critic. The criteria being tire conformity of the judgment of the artists with the views held today, considered correct, taking into account the distance in time. Wolfgang Drost rightly contests the validity of this anachronism that does not take into account the variations in taste, but his position remains ambiguous, if only because he establishes a radical opposition between the spontaneous subjectivity of the critic and a supposed objectivity of the history of ait held to be scientific
{"title":"Réflexions sur l’étude de la critique d’art, à propos d’un livre récent.","authors":"Pierre Vaisse","doi":"10.3917/rda.207.0067","DOIUrl":"https://doi.org/10.3917/rda.207.0067","url":null,"abstract":"The recently published book by Wolfgang Drost on the subject of the art criticism of five major writers (.Dichten), Diderot, Stendhal, Heine, Gautier and Baudelaire, takes up all of the many works that he devoted to them during his long career, but poses several problems. The term Dichter (as opposed to the simple expression man of letters) is not self-evident. The category thus defined is of no interest to art historians. It is understandable that historians of literature are tied to the writings about art of famous authors. However, either these writings are considered as mere documentary sources, allowing greater understanding of their literary works strict sensu, or else they are recognized for their own literary value, if only for the importance of the descriptions, as in the poetry and novels of the period. Nevertheless, it is rare to find studies devoted to this literary aspect that Wolfgang Drost also neglects. Ordinarily the question raised is to know whether or not this Dichter was a good critic. The criteria being tire conformity of the judgment of the artists with the views held today, considered correct, taking into account the distance in time. Wolfgang Drost rightly contests the validity of this anachronism that does not take into account the variations in taste, but his position remains ambiguous, if only because he establishes a radical opposition between the spontaneous subjectivity of the critic and a supposed objectivity of the history of ait held to be scientific","PeriodicalId":42900,"journal":{"name":"REVUE DE L ART","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44797979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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