{"title":"Les miracles n’arrivent qu’une fois","authors":"P. Roubertoux","doi":"10.21494/iste.op.2022.0794","DOIUrl":"https://doi.org/10.21494/iste.op.2022.0794","url":null,"abstract":"","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77631151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
. Jean-Baptiste Vérany (1800-1865) was a naturalist of wide interests, and the founder of the Muséum d'Histoire Naturelle de Nice . His specialty was marine mollusks, especially cephalopods (e.g. octopuses, squids). Vérany's major monograph was on cephalopods of the Mediterranean Sea published in 1851, " Mollusques méditeranéens; observés, décrits, figurés, et chromolithographiés d'après le vivant ". It included descriptions of new species and 43 plates showing cephalopods 'in living color'. The monograph appears to be of relatively minor scientific importance. However, Vérany's illustrations inspired depictions of cephalopods as both a beast and as beauties by important literary and artistic personalities. Here, first the life of Vérany will be sketched and examples of his striking illustrations of cephalopods 'in living color' given. Then the use by Victor Hugo, the 19th century French novelist, of one of Vérany's illustrations of an octopus to depict the ferocious beast in his 1866 novel Toilers of the Sea ( Les Travailleurs de la mer ) will be shown. The novel was a major contribution to the popular image of cephalopods as beasts. Not long after, in the 1870's, Verany's illustrations were used by the renowned Blaschka glass workers to produce beautiful glass models of cephalopods. Ernst Haeckel, in his famous Art Forms in Nature ( Kunstformen der Natur 1899-1904), depicted Verany's squids as beauties of nature. Although rarely acknowledged, Verany's lasting legacy with regard to cephalopods may be his illustrations, than his descriptions of new species.
。让-巴蒂斯特·瓦姆萨兰(1800-1865)是一位兴趣广泛的博物学家，也是尼斯自然历史学会的创始人。他的专长是海洋软体动物，特别是头足类动物(如章鱼、鱿鱼)。他的主要专著是关于地中海头足类动物的，出版于1851年，名为《软体动物(Mollusques) m;观察型、数字型、数字型和色谱型。其中包括对新物种的描述，以及43张显示头足类动物“活色”的板块。这篇专著在科学上的重要性似乎相对较小。然而，v rani的插图启发了重要的文学和艺术人物将头足类动物描绘成野兽和美女。在这里，首先将概述vsamrani的生活，并给出他的头足类动物“活的颜色”的惊人插图。然后将展示19世纪法国小说家维克多•雨果(Victor Hugo)在其1866年的小说《海上劳动者》(Les Travailleurs de la mer)中使用的一幅章鱼插图来描绘这只凶猛的野兽。这部小说对头足类动物作为野兽的流行形象做出了重大贡献。不久之后，在19世纪70年代，Verany的插图被著名的Blaschka玻璃工人用来制作漂亮的头足类动物玻璃模型。恩斯特·海克尔在他著名的《自然的艺术形式》(Kunstformen der Natur 1899-1904)中，把维兰尼的鱿鱼描绘成自然之美。虽然很少有人承认，但Verany在头足类动物方面的持久遗产可能是他的插图，而不是他对新物种的描述。
{"title":"The Cephalopods of Jean-Baptiste Vérany : the Beast and the Beauties","authors":"J. Dolan","doi":"10.21494/iste.op.2022.0830","DOIUrl":"https://doi.org/10.21494/iste.op.2022.0830","url":null,"abstract":". Jean-Baptiste Vérany (1800-1865) was a naturalist of wide interests, and the founder of the Muséum d'Histoire Naturelle de Nice . His specialty was marine mollusks, especially cephalopods (e.g. octopuses, squids). Vérany's major monograph was on cephalopods of the Mediterranean Sea published in 1851, \" Mollusques méditeranéens; observés, décrits, figurés, et chromolithographiés d'après le vivant \". It included descriptions of new species and 43 plates showing cephalopods 'in living color'. The monograph appears to be of relatively minor scientific importance. However, Vérany's illustrations inspired depictions of cephalopods as both a beast and as beauties by important literary and artistic personalities. Here, first the life of Vérany will be sketched and examples of his striking illustrations of cephalopods 'in living color' given. Then the use by Victor Hugo, the 19th century French novelist, of one of Vérany's illustrations of an octopus to depict the ferocious beast in his 1866 novel Toilers of the Sea ( Les Travailleurs de la mer ) will be shown. The novel was a major contribution to the popular image of cephalopods as beasts. Not long after, in the 1870's, Verany's illustrations were used by the renowned Blaschka glass workers to produce beautiful glass models of cephalopods. Ernst Haeckel, in his famous Art Forms in Nature ( Kunstformen der Natur 1899-1904), depicted Verany's squids as beauties of nature. Although rarely acknowledged, Verany's lasting legacy with regard to cephalopods may be his illustrations, than his descriptions of new species.","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87417919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
RÉSUMÉ. À partir de la fin du XIX e siècle, un renouveau de l’approche de l’acte perceptif du spectateur dans le discours théorique sur l’art s’affirme de façon concomitante au discours psychologique et philosophique. L’acte de perception du spectateur expliquerait certaines illusions picturales. Au-delà, l’acte perceptif pourrait jouer un rôle nouveau dans l’appréhension d’une couleur ou d’une qualité de texture, nous reliant, par association ou équivalence, à d’autres sensations, tactiles, olfactives, sonores, tout aussi immédiatement perçues en dépassant les principes naturalistes de l’imitation. Nous voudrions d’abord mettre en exergue l’évolution d’une théorie de l’art autour de la notion de suggestion ; puis nous montrerons en quoi différentes formulations non-figuratives après la Seconde Guerre mondiale s’inscrivent dans la continuité de cette conception par une recherche créative sur la manière de rendre perceptible sur la surface plane telle impression de profondeur, d’étendue, de remous ; une matière ou une forme que l’on sent acérée ou rugueuse, ne cherchant à peindre ni l’objet ni une sensation mais à créer une « équivalence qui détermine une sensation » (P. Tal Coat). Parallèlement à un renouveau de ABSTRACT. From the end of the 19th century onwards, a renewed approach to the spectator's perceptive act in the theoretical discourse on art was asserted, concomitantly with the psychological and philosophical discourse. The spectator's act of perception would explain certain pictorial illusions. Beyond that, the perceptive act could play a new role in the apprehension of a colour or a quality of texture, linking it, by association or equivalence, to other sensations, tactile, olfactory, sonorous, just as immediately perceived by going beyond the naturalistic principles of imitation. In this paper, I will first highlight the evolution of one of the theories of art focusing on the notion of suggestion, then to show how different non-figurative propositions after the Second World War are in line with the continuity of this conception through a creative research on how to make perceptible on a flat surface an impression of depth, expanse, or swirls; a matter or a form perceived as sharp or rough, not trying to depict either the object or a sensation but to create an "equivalence that determines a sensation" (P. Tal Coat). In parallel with a revival of psychology, considering that our perception establishes relationships in the visual field, that we grasp structures significant to all the senses, many artists started a creative research on how to make visible sensations anchored in their experience of the sensitive world, which for them often give rise to others, emotional or spiritual, inducing a feeling "beyond words and intellectual frameworks" (D. Vallier). The singular nature of this aesthetic, which maintains an unexpected link with reality, provokes a debate on its attachment to abstract art. MOTS-CLÉS. suggestion, Gestalt théorie, phé
摘要。从19世纪末开始，在理论艺术话语中，观众感知行为的方法与心理学和哲学话语同时出现。观众的感知行为可以解释某些图像错觉。除此之外，感知行为可以在理解一种颜色或质地的质量方面发挥新的作用，通过联想或等价将我们与其他感觉联系起来，触觉、嗅觉、听觉，这些感觉也可以通过超越自然主义的模仿原则立即被感知。首先，我们想强调一种围绕暗示概念的艺术理论的演变;然后，我们将展示二战后不同的非具象表述如何符合这一概念的连续性，创造性地研究如何使这种深度、广度和漩涡的印象在平面上可见;一种感觉尖锐或粗糙的材料或形式，既不试图描绘物体，也不试图描绘一种感觉，而是创造一种“决定感觉的等效性”(P. Tal Coat)。与抽象的复兴平行。从19世纪末开始，在艺术的理论话语中，观众的感知行为的新方法与心理学和哲学话语相结合。观众的感知行为可以解释某些图画错觉。除此之外，感知行为可以在感知一种颜色或质地的质量方面发挥新的作用，通过联想或等价，将它与触觉、嗅觉、声音等其他感觉联系起来，就像直接感知超越自然主义的模仿原则一样。In this paper, I will the进化of one of the first highlight theories of概念重点on the art of建议,then to show (how different non-figurative建议马上are the Second World War In line with the连续性of this through a creative设计research on how to make察觉了平板表面depth,然而swirls expanse印象”;a matter黄金爱as a form sharp粗糙,不越狱者当不见,the object to create an目的感觉黄金等效that(轰动了”(p . Tal习惯)。In parallel with a复兴感知心理学,又鉴于that our establishes人际关系的field In the visual, that we巨猿生存方案的重大结构to all the many a creative artists评判员吃,可见research on how to make In their anchored体验感受,which of the sensitive world for les rise to others,字emotional,但是精神,inducing抓了beyond words and知识框架”(d - Vallier)。The of this aesthetic性质独特,which maintains一年link吧with a reality, provokes debate on its连to文摘的艺术。关键词。暗示，格式塔理论，现象学，等价，非具象艺术，自然。
{"title":"Ressentir et voir : couleurs, matières et formes du sentir dans l’art non-figuratif après la Seconde Guerre mondiale","authors":"A. Charvier","doi":"10.21494/iste.op.2022.0857","DOIUrl":"https://doi.org/10.21494/iste.op.2022.0857","url":null,"abstract":"RÉSUMÉ. À partir de la fin du XIX e siècle, un renouveau de l’approche de l’acte perceptif du spectateur dans le discours théorique sur l’art s’affirme de façon concomitante au discours psychologique et philosophique. L’acte de perception du spectateur expliquerait certaines illusions picturales. Au-delà, l’acte perceptif pourrait jouer un rôle nouveau dans l’appréhension d’une couleur ou d’une qualité de texture, nous reliant, par association ou équivalence, à d’autres sensations, tactiles, olfactives, sonores, tout aussi immédiatement perçues en dépassant les principes naturalistes de l’imitation. Nous voudrions d’abord mettre en exergue l’évolution d’une théorie de l’art autour de la notion de suggestion ; puis nous montrerons en quoi différentes formulations non-figuratives après la Seconde Guerre mondiale s’inscrivent dans la continuité de cette conception par une recherche créative sur la manière de rendre perceptible sur la surface plane telle impression de profondeur, d’étendue, de remous ; une matière ou une forme que l’on sent acérée ou rugueuse, ne cherchant à peindre ni l’objet ni une sensation mais à créer une « équivalence qui détermine une sensation » (P. Tal Coat). Parallèlement à un renouveau de ABSTRACT. From the end of the 19th century onwards, a renewed approach to the spectator's perceptive act in the theoretical discourse on art was asserted, concomitantly with the psychological and philosophical discourse. The spectator's act of perception would explain certain pictorial illusions. Beyond that, the perceptive act could play a new role in the apprehension of a colour or a quality of texture, linking it, by association or equivalence, to other sensations, tactile, olfactory, sonorous, just as immediately perceived by going beyond the naturalistic principles of imitation. In this paper, I will first highlight the evolution of one of the theories of art focusing on the notion of suggestion, then to show how different non-figurative propositions after the Second World War are in line with the continuity of this conception through a creative research on how to make perceptible on a flat surface an impression of depth, expanse, or swirls; a matter or a form perceived as sharp or rough, not trying to depict either the object or a sensation but to create an \"equivalence that determines a sensation\" (P. Tal Coat). In parallel with a revival of psychology, considering that our perception establishes relationships in the visual field, that we grasp structures significant to all the senses, many artists started a creative research on how to make visible sensations anchored in their experience of the sensitive world, which for them often give rise to others, emotional or spiritual, inducing a feeling \"beyond words and intellectual frameworks\" (D. Vallier). The singular nature of this aesthetic, which maintains an unexpected link with reality, provokes a debate on its attachment to abstract art. MOTS-CLÉS. suggestion, Gestalt théorie, phé","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86696468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Un bref commentaire « astrophysique »","authors":"J. Audouze","doi":"10.21494/iste.op.2022.0795","DOIUrl":"https://doi.org/10.21494/iste.op.2022.0795","url":null,"abstract":"","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82343586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sur les chemins de l’évolution et des civilisations : « Le castor et sa représentation artistique »","authors":"C. Rouquette","doi":"10.21494/iste.op.2022.0851","DOIUrl":"https://doi.org/10.21494/iste.op.2022.0851","url":null,"abstract":"","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80540347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Une promenade extraterrestre avec Marc Boulay","authors":"M. Boulay","doi":"10.21494/iste.op.2022.0803","DOIUrl":"https://doi.org/10.21494/iste.op.2022.0803","url":null,"abstract":"","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75616716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L'exemple des etres vivants sur Terre montre une biodiversite considerable de leurs formes. Mais celle-ci resulte souvent des contraintes physiques du milieu environnant auxquelles ils ont du s'adapter. Ces contraintes peuvent aboutir a une architecture generale de la complexite, dite « en mosaique » resultant de l'application de deux principes generaux : juxtaposition d'unites de meme nature, puis integration de ces unites dans des systemes de plus grande complexite, dont les unites initiales deviennent alors des parties. En supposant, selon un modele aristotelicien, que les memes contraintes et la meme architecture de la complexite se retrouvent partout ailleurs dans l'univers, peuton imaginer les formes d'etres extraterrestres ? Une telle reflexion combine a la fois la rationalite des contraintes physiques et l'imagination d'un jeu illimite des possibles. Sur le plan rationnel nous avons delimite un nombre de formes plausibles d'etres extraterrestres : constitution a partir de chaines carbonees, modules independants, recombinaison occasionnelle des chaines carbonees en variantes « sexuelles », formes arborescentes, symetrie bilaterale, « cocon » comme stade de protection, temperature constante, dispositifs de perception et d'action, recours a des artefacts, unites centrales de controle... Nous ouvrons alors la voie a une imagination artistique ou tous les possibles peuvent se manifester.
{"title":"De la science à l’art : un imaginaire extraterrestre","authors":"G. Chapouthier","doi":"10.21494/iste.op.2021.0721","DOIUrl":"https://doi.org/10.21494/iste.op.2021.0721","url":null,"abstract":"L'exemple des etres vivants sur Terre montre une biodiversite considerable de leurs formes. Mais celle-ci resulte souvent des contraintes physiques du milieu environnant auxquelles ils ont du s'adapter. Ces contraintes peuvent aboutir a une architecture generale de la complexite, dite « en mosaique » resultant de l'application de deux principes generaux : juxtaposition d'unites de meme nature, puis integration de ces unites dans des systemes de plus grande complexite, dont les unites initiales deviennent alors des parties. En supposant, selon un modele aristotelicien, que les memes contraintes et la meme architecture de la complexite se retrouvent partout ailleurs dans l'univers, peuton imaginer les formes d'etres extraterrestres ? Une telle reflexion combine a la fois la rationalite des contraintes physiques et l'imagination d'un jeu illimite des possibles. Sur le plan rationnel nous avons delimite un nombre de formes plausibles d'etres extraterrestres : constitution a partir de chaines carbonees, modules independants, recombinaison occasionnelle des chaines carbonees en variantes « sexuelles », formes arborescentes, symetrie bilaterale, « cocon » comme stade de protection, temperature constante, dispositifs de perception et d'action, recours a des artefacts, unites centrales de controle... Nous ouvrons alors la voie a une imagination artistique ou tous les possibles peuvent se manifester.","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"51 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88441500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-06DOI: 10.21494/iste.op.2021.0720
Elisabeth Wierzbicka alias Wela
L'Art et la Vie” - une exposition internationale dans le cadre du projet „L'Art et la Science” ou les artistes tentent de repondre a des questions importantes : d'ou venons-nous ? Qui nous ? Ou allons-nous ? Ce titre du tableau, peint par Paul Gauguin, a ete la principale inspiration ideologique des artistes invites d'Europe, d'Asie et d'Amerique.
{"title":"L’Art et la Vie","authors":"Elisabeth Wierzbicka alias Wela","doi":"10.21494/iste.op.2021.0720","DOIUrl":"https://doi.org/10.21494/iste.op.2021.0720","url":null,"abstract":"L'Art et la Vie” - une exposition internationale dans le cadre du projet „L'Art et la Science” ou les artistes tentent de repondre a des questions importantes : d'ou venons-nous ? Qui nous ? Ou allons-nous ? Ce titre du tableau, peint par Paul Gauguin, a ete la principale inspiration ideologique des artistes invites d'Europe, d'Asie et d'Amerique.","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73181579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Beulah Mitchell Clute (1873-1958) was a talented artist who specialized in the design of bookplates. She was well known in her time, from her days as an art student, and today is still recognized as a very talented designer. Among her most famous creations are 3 bookplates for scientists of the faculty of the University of California in the early 1900's. Here the story of Beulah Clute will be told, the range of her work demonstrated, and her bookplates for three very successful University of California scientists will be shown in the context of her many bookplates for others. Clute's bookplates were usually decorative and mainly served to show ownership. In contrast, the bookplates for the scientists were dominated by depictions of items and scenes related to their professional careers. The bookplates of the scientists did not simply show ownership. They prominently showcased their achievements and lives. The hypothesis that the scientists, each of whom who rose to chair their respective departments, indulged their vanities with their bookplates, is put forward, in line with observations that high ego personalities are successful in the sciences.
Beulah Mitchell Clute(1873-1958)是一位才华横溢的艺术家，专门从事书版的设计。她在她的时代是众所周知的，从她的艺术学生的日子，今天仍然被认为是一个非常有才华的设计师。她最著名的作品是20世纪初为加州大学的科学家们设计的3个书板。这里将讲述Beulah Clute的故事，展示她的工作范围，以及她为三位非常成功的加州大学科学家提供的书架，将在她为其他人提供的许多书架的背景下展示。克鲁特的书板通常是装饰性的，主要用来显示所有权。相比之下，科学家们的书架上主要是与他们的职业生涯有关的物品和场景的描述。科学家们的书板不仅仅表明了他们的所有权。他们突出地展示了他们的成就和生活。这一假说的提出与高自我人格的人在科学领域取得成功的观察结果相一致，即每位升任各自部门主席的科学家都用他们的书板来满足他们的虚荣心。
{"title":"When an Artist works for Scientists: On Beulah Mitchell Clute and Her Bookplates for Scientists of the University of California at Berkeley","authors":"J. Dolan","doi":"10.21494/iste.op.2021.0718","DOIUrl":"https://doi.org/10.21494/iste.op.2021.0718","url":null,"abstract":"Beulah Mitchell Clute (1873-1958) was a talented artist who specialized in the design of bookplates. She was well known in her time, from her days as an art student, and today is still recognized as a very talented designer. Among her most famous creations are 3 bookplates for scientists of the faculty of the University of California in the early 1900's. Here the story of Beulah Clute will be told, the range of her work demonstrated, and her bookplates for three very successful University of California scientists will be shown in the context of her many bookplates for others. Clute's bookplates were usually decorative and mainly served to show ownership. In contrast, the bookplates for the scientists were dominated by depictions of items and scenes related to their professional careers. The bookplates of the scientists did not simply show ownership. They prominently showcased their achievements and lives. The hypothesis that the scientists, each of whom who rose to chair their respective departments, indulged their vanities with their bookplates, is put forward, in line with observations that high ego personalities are successful in the sciences.","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87099326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La rigueur et le rationalisme, principes fondamentaux de l'activite scientifique, peuvent laisser croire que la science est un monde blanc et froid denue d'intentions artistiques. A l'inverse, le monde artistique est habituellement percu comme un espace de creation sans limites eloigne des chemins scientifiques. Cependant, les principes et les demarches scientifiques et artistiques montrent de grandes similitudes suggerant un rapprochement fecond dans des programmes arts-sciences.
{"title":"Arts et sciences, même combat ?","authors":"J. Sueur","doi":"10.21494/iste.op.2021.0717","DOIUrl":"https://doi.org/10.21494/iste.op.2021.0717","url":null,"abstract":"La rigueur et le rationalisme, principes fondamentaux de l'activite scientifique, peuvent laisser croire que la science est un monde blanc et froid denue d'intentions artistiques. A l'inverse, le monde artistique est habituellement percu comme un espace de creation sans limites eloigne des chemins scientifiques. Cependant, les principes et les demarches scientifiques et artistiques montrent de grandes similitudes suggerant un rapprochement fecond dans des programmes arts-sciences.","PeriodicalId":80768,"journal":{"name":"Bulletin de la Societe d'agriculture, sciences et arts de la Sarthe. Societe d'agriculture, sciences et arts de la Sarthe","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82017368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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