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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DI-fusionarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DI-fusion
    Article . 2019 . Peer-reviewed
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
    License: Elsevier TDM
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DI-fusionarrow_drop_down
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      DI-fusion
      Article . 2019 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Archaeological Science Reports
      Article . 2019 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Kisiel, Marine;

    International audience; Throughout their careers, the Impressionists demonstrated a strong, but rarely examined, interest in decoration. Between 1870 and 1900, a careful examination shows that Pissarro, Degas, Cézanne, Monet, Renoir, Morisot, and Caillebotte continued to explore the values of decoration and the decorative. Along with a number of artworks explicitly designated as “decorative” that were predominantly exhibited at the Impressionist shows, they also produced more than twenty decorative ensembles made for the interiors of patrons and amateurs. Initially publicized by the painters in the 1870s, their decorative works were subsequently undertaken more quietly, although still continuously. The critics’ attention, however, grew from the relative disinterest in making the decorative key to their approach at the turn of the century. An analysis of these experiments and their critical reception encourages, as this article demonstrates, a reconsideration of our vision of Impressionism, for its development drew much more from the decorative than has so far been said.; Manifesté entre 1876 et 1887 par la présentation publique, aux expositions impressionnistes principalement, d’œuvres clairement désignées comme décoratives par leurs auteurs, puis incarné dans plus de vingt ensembles intentionnellement conçus comme décorations pour des intérieurs, l’intérêt des Impressionnistes pour la décoration a jusqu’ici été largement occulté de l’étude de ce mouvement. Pourtant, entre 1870 et 1900 chez Pissarro, Degas, Cézanne, Monet, Renoir, Morisot et Caillebotte, et au-delà pour Renoir et Monet, la décoration et les valeurs du décoratif en art se révèlent des enjeux majeurs. L’analyse de ces expérimentations – publicisées par les peintres avant que d’être poursuivies moins ouvertement, et parallèlement éreintées par la critique qui en fera cependant, à la fin du siècle, le levier d’une interprétation laudatrice de l’impressionnisme – nous permet de relire une vaste partie de la production impressionniste et d’en découvrir de puissants ressorts, encore souvent insoupçonnés.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Sociétés & Représent...arrow_drop_down
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    Sociétés & Représentations
    Article . 2015 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Pioffet, Hélène; Ard, Vincent;

    The British Neolithic transition, occurring around 4000 BC, at least one millennium after the continental part of Northwest Europe, is still subject to important debate these days. Various studies suggest that the Neolithic start involved farming immigrants from various parts of the Continent. However, ceramics of the Early Neolithic of Britain became increasingly distinct from their Continental roots, particularly in the Southwest and Southeast of England. We recently completed two important projects, one on Early Neolithic British and Irish pottery and the other on Peterborough Ware, integrating a new way of considering these early productions through a technological approach and the observation of various steps of the chaîne opératoire. This paper is the opportunity to present preliminary results which shed a new light on the evolution of pottery wares during the fourth millennium BC in Southern Britain. It specifically highlights strong connections between Early Neolithic and Middle Neolithic pottery, in terms of style, but above in terms of manufacturing techniques.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ HAL-Rennes 1; Mémoir...arrow_drop_down
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    Archeologické Rozhledy
    Article . 2017 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Dumons, Bruno;

    En choisissant de mettre à l’honneur des citoyens modèles, notamment grâce à la technique des décorations, la Troisième République a recours à une pédagogie par l’exemple pour installer durablement une culture méritocratique dans la société française. Pour cela, elle invente de nouvelles médailles tout en s’appropriant celles qui avaient été créées sous les régimes précédents comme la plus prestigieuse d’entre elles : la Légion d’Honneur (1802). Si l’historiographie des usages symboliques de la République a été rendue solide avec les travaux de Maurice Agulhon sur la Provence, moins connues sont ces « élites de l’honneur » dont les archives publiques ont conservé les traces. En explorant le célèbre « Var rouge », il nous a été permis de cerner le profil de ces élites méditerranéennes que l’État républicain a souhaité honorer entre 1870 et 1940. Parmi celles-ci, se distingue la catégorie des maires, en particulier ces « bons maires » qui œuvrent pour la « républicanisation » de la société. Ce sont quelques-unes de ces personnalités qui seront présentées dans ce chapitre. In designating model citizens through processes like decorations, the French Third Republic set examples to establish a culture of meritocracy in French society. It invented new medals and appropriated existing ones created by former regimes, including the most prestigious of all: the Légion d’Honneur (1802).Although the historiography of the Republic’s symbolic practices has been augmented by Maurice Agulhon’s works on Provence, this “elite of honour” whose trace remained in public archives is not well known. We explored the “Var rouge” (the predominantly left-wing Var département) to study the profiles of this Mediterranean elite which was honoured by the Republican state between 1870 and 1940. These include the category of mayors, in particular the “bons maires” who contributed to the “republicanisation” of society. This chapter presents a few of these personalities.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ OpenEditionarrow_drop_down
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    OpenEdition
    Article . 2017
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Cahiers de la Méditerranée
    Article . 2017 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ OpenEditionarrow_drop_down
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      OpenEdition
      Article . 2017
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      Cahiers de la Méditerranée
      Article . 2017 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: DUBOIS, Arnaud;

    À partir d’une étude croisée de la littérature savante sur la polychromie antique et industrielle et de données issues d’une enquête de terrain sur une architecture contemporaine qui prend ses distances avec les couleurs fonctionnelles de l’architecture moderniste, cet article montre qu’une approche ethnographique des pratiques coloristes permet de dégager une historiographie largement sous-évaluée des travaux sur l’art coloriste en architecture moderne. En rendant compte des entretiens que j’ai eus avec Patrick Bouchain et Daniel Buren sur leurs positions théoriques sur la coloration des murs et en confrontant leurs réponses aux théoriciens du XIXe siècle en Europe, j’aborde la délicate question de la coloration du Centre Pompidou Mobile. Relève-t-elle ou non d’une démarche « décorative » ? Based on a cross-examination of scholarly literature on antique and industrial polychromy and data from a fieldwork about a contemporary architecture that takes its distances from the functional colors of modernist architecture, this paper examines how an ethnographic approach to colorist practices reveals a widely undervalued historiography on colorist art in modern architecture. In reviewing the interviews I had with Patrick Bouchain and Daniel Buren about their ideas about coloring of walls and in comparing their answers to the nineteenth-century european theorists, I address the delicate question of the coloring of the Center Pompidou Mobile. Is it a « decorative » approach ?

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Oskar Bordeauxarrow_drop_down
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    Oskar Bordeaux
    Article . 2016
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    DOAJ
    Article . 2017
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    Article . 2017
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    Article . 2016 . Peer-reviewed
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    OpenEdition
    Article . 2017
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Oskar Bordeauxarrow_drop_down
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      Oskar Bordeaux
      Article . 2016
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      DOAJ
      Article . 2017
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      Article . 2017
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      Article . 2016 . Peer-reviewed
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      OpenEdition
      Article . 2017
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    Authors: Roussillon-Constanty, Laurence;

    La récente exposition Beauté, morale et volupté dans l’Angleterre d’Oscar Wilde (Musée d’Orsay, 13 septembre 2011-15 janvier 2012) a remarquablement illustré la façon dont un artiste préraphaélite aussi emblématique que Dante Gabriel Rossetti a contribué à faire glisser l’ère victorienne vers l’esthétisme dès le milieu du siècle, accordant par exemple une place de choix à deux de ses tableaux les plus représentatifs, Bocca Baciata (1859) et The Day Dream (1880).Cependant, quel rôle exact l’artiste a-t-il joué dans l’avènement du mouvement Arts and Crafts et par quel biais s’est-il lui-même intéressé à des formes d’art moins reconnues, telle que la céramique ? Comment a-t-il réussi à l’intégrer dans son art ? Alors qu’à ses débuts, la peinture préraphaélite consistait à peindre de la façon la plus transparente possible en privilégiant un rapport direct à la nature, il semble intéressant de montrer en quoi l’intérêt de Rossetti pour les arts décoratifs a également pu inspirer les tendances et les créations du mouvement Arts and Crafts. Un tel examen conduira tout naturellement à se demander si l’on peut conclure que l’art de Rossetti a peu à peu évolué vers l’esthétisme et ce que cette lecture change quant à l’analyse de ses œuvres poétiques et picturales.Dans cet article, il s’agira d’élucider ces questions en évoquant les expériences de Rossetti avec une pluralité de média, en se concentrant plus particulièrement sur les objets en céramique qu’il collectionnait et peignait dans ses tableaux. Par là, il s’agira dans un deuxième temps d’envisager l’œuvre de Rossetti comme une œuvre totale, à portée philosophique autant qu’esthétique et de la mettre en regard avec les idées mises en avant par John Ruskin dans les années 1850. The recent “Cult of Beauty” touring exhibition (Victorian and Albert Museum, 13 September 2011, 15 January 2012) has convincingly shown the role such key pre-Raphaelite artists as Dante Gabriel Rossetti played in the transition from the mid-Victorian age to British aestheticism by dedicating much space to such emblematic paintings as Bocca Baciata (1859) or The Day Dream (1880). However, Rossetti’s exact artistic involvement with the Arts and Crafts design movement, which emerged in Britain around 1860 (but only took its official name after the foundation of the Crafts Exhibition Society in 1887) and his exploration of lesser forms of art in his own artistic career have not yet been widely examined: how could the leader of the Preraphaelite Brotherhood—an artistic endeavour renowned for its insistence on transparent, true-to-nature symbolism—have inspired the decorative, overcharged designs and furniture of the Arts and Crafts movement? Did Rossetti’s art also move towards aestheticism, and if so, does this change the way we should interpret his paintings and his poetry?This paper hopes to address these issues by looking at Rossetti’s experiments with mixed media, with a special focus on Rossetti’s interest in and collecting of ceramics. It also aims to look at Rossetti’s artistic production in a broad and inclusive manner and to balance his ideas against those expressed by John Ruskin in his conferences on art and architecture in the mid-1850s.

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    DOAJ
    Article . 2012
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    Miranda: Revue Pluridisciplinaire du Monde Anglophone
    Article . 2012 . Peer-reviewed
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    Article . 2013
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      Article . 2012
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      Miranda: Revue Pluridisciplinaire du Monde Anglophone
      Article . 2012 . Peer-reviewed
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      OpenEdition
      Article . 2013
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Marzais, Amaelle;

    Les peintures du prieuré Saint-Jean-du-Grais d’Azay-sur-Cher, situé en Indre-et-Loire, n’ont jamais fait l’objet d’une étude technique. L’utilisation de la sinopia est rarement observée en France pour les peintures des XIIe et XIIIe s. Les indices laissés sur l’œuvre ainsi que la réalisation de relevés ont permis de proposer une restitution du chantier peint. L’étude montre que le programme iconographique était scrupuleusement conçu avant sa mise en œuvre sur le mur, jusqu’à définir au préalable l’emplacement des raccords d’enduit. Cette peinture illustre les mutations techniques et stylistiques en vigueur dans la deuxième moitié du XIIe jusqu’au début du XIIIe s. The mural paintings in the Saint-Jean-du-Grais priory in Azay-sur-Cher, Indre-et-Loire, have never been the subject of a technical study. The use of sinopia is rarely observed in France for paintings from the 12th and 13th centuries. The clues left on the paintings and the drawing conducted to propose a restitution of the painting process. The study shows that the iconographic programme was scrupulously designed before it was applied to the wall. This painting illustrates the technical and stylistic changes that took place from the second half of the 12th century to the beginning of the 13th.

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    OpenEdition
    Article . 2023
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      Article . 2023
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    Authors: Carrive, Mathilde;

    International audience; Through a detailed examination of a sample from both towns, this paper presents a joint study of houses in Rome and Ostia in the 2nd c. AD. Taking into account the plan, circulation axes, architectural structures and decoration, the type of analysis performed here has been frequently conducted on houses from the Vesuvian cities but rarely on later periods. By applying it to 2nd c. AD domestic space, we wish to shed a light on the evolution of spatial organisation and its socio-economic implication during this period. We focus on high-status buildings, regardless of the type of housing. In doing so, the aim is twofold: first, to question the contrast between domus and insula; second, to investigate how the 2nd c. élites conceived and inhabited their houses in the heart of the Roman Empire.; Cet article propose une étude conjointe des contextes domestiques de Rome et d’Ostie, au IIe s. ap. J.-C., à travers l’examen détaillé d’une série d’édifices des deux villes. Ce type d’analyse, qui prend en compte à la fois le plan, les circulations, les structures et le décor, a été mené sur les contextes vésuviens de la fin de la République et du début de l’Empire, mais n’a guère été développé pour les périodes postérieures. En l’appliquant ici à l’espace domestique du IIe s. ap. J.-C., nous espérons mettre en lumière pour cette période l’évolution de l’organisation spatiale des maisons et ses enjeux socio-économiques. L’enquête se concentre sur les édifices d’un niveau socio-économique élevé, quelle que soit la typologie de l’habitat. L’objectif est ainsi de réfléchir à la signification de l’opposition domus / insula, tout en affinant notre compréhension des modes d’habiter de l’élite du IIe s. au cœur de l’Empire.

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    OpenEdition
    Article . 2016
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    https://doi.org/10.4000/mefra....
    Article . 2016 . Peer-reviewed
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    Authors: DE BEAUNE , Sophie A.;

    Étude des lampes paléolithiques dont il n'existait pas de définition précise et dont les caractéristiques techniques, morphologiques et fonctionnelles ainsi que la distribution spatiale et chronologique étaient très peu connues. Study of the Palaeolithic lamps which no true definition existed and whose technical, morphological, and functional characteristics and spatial and chronological distribution were very little known. International audience

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    Current Anthropology
    Article . 1987 . Peer-reviewed
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  • Authors: Porter, Yves;

    Abstract The Shahi ʿIdgah at Rapri (Uttar Pradesh), which dates to 1312, was built by Malik Kafur, the general of the Delhi sultan ʿAla⁠ʾuddin Khalji (1296–1316). The village of Rapri was part of Malik Kafur’s fief and an important station for the army, as it commanded a ford on the Yamuna River. ʿĪdgāhs, sometimes translated as “wall-mosques,” are extra-urban, open prayer spaces for accommodating large congregations during the two main religious festivals (ʿīds). The Rapri ʿīdgāh constitutes a major landmark in the architecture of the Delhi Sultanate, mainly because of its exceptional decoration of turquoise-glazed tiles, the oldest example of its kind still in situ. Although often considered a technique that originated in the Iranian domains, the making of glazed tiles was already known in the Kushan period (first to fourth century CE), and some findings have been excavated from Buddhist contexts in the nearby Mathura region. This study shows the link between the tiles of Rapri and later fourteenth century examples, and with glazed pottery.

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    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

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    DI-fusion
    Article . 2019 . Peer-reviewed
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    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
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      Journal of Archaeological Science Reports
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    Authors: Kisiel, Marine;

    International audience; Throughout their careers, the Impressionists demonstrated a strong, but rarely examined, interest in decoration. Between 1870 and 1900, a careful examination shows that Pissarro, Degas, Cézanne, Monet, Renoir, Morisot, and Caillebotte continued to explore the values of decoration and the decorative. Along with a number of artworks explicitly designated as “decorative” that were predominantly exhibited at the Impressionist shows, they also produced more than twenty decorative ensembles made for the interiors of patrons and amateurs. Initially publicized by the painters in the 1870s, their decorative works were subsequently undertaken more quietly, although still continuously. The critics’ attention, however, grew from the relative disinterest in making the decorative key to their approach at the turn of the century. An analysis of these experiments and their critical reception encourages, as this article demonstrates, a reconsideration of our vision of Impressionism, for its development drew much more from the decorative than has so far been said.; Manifesté entre 1876 et 1887 par la présentation publique, aux expositions impressionnistes principalement, d’œuvres clairement désignées comme décoratives par leurs auteurs, puis incarné dans plus de vingt ensembles intentionnellement conçus comme décorations pour des intérieurs, l’intérêt des Impressionnistes pour la décoration a jusqu’ici été largement occulté de l’étude de ce mouvement. Pourtant, entre 1870 et 1900 chez Pissarro, Degas, Cézanne, Monet, Renoir, Morisot et Caillebotte, et au-delà pour Renoir et Monet, la décoration et les valeurs du décoratif en art se révèlent des enjeux majeurs. L’analyse de ces expérimentations – publicisées par les peintres avant que d’être poursuivies moins ouvertement, et parallèlement éreintées par la critique qui en fera cependant, à la fin du siècle, le levier d’une interprétation laudatrice de l’impressionnisme – nous permet de relire une vaste partie de la production impressionniste et d’en découvrir de puissants ressorts, encore souvent insoupçonnés.

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    Sociétés & Représentations
    Article . 2015 . Peer-reviewed
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    Authors: Pioffet, Hélène; Ard, Vincent;

    The British Neolithic transition, occurring around 4000 BC, at least one millennium after the continental part of Northwest Europe, is still subject to important debate these days. Various studies suggest that the Neolithic start involved farming immigrants from various parts of the Continent. However, ceramics of the Early Neolithic of Britain became increasingly distinct from their Continental roots, particularly in the Southwest and Southeast of England. We recently completed two important projects, one on Early Neolithic British and Irish pottery and the other on Peterborough Ware, integrating a new way of considering these early productions through a technological approach and the observation of various steps of the chaîne opératoire. This paper is the opportunity to present preliminary results which shed a new light on the evolution of pottery wares during the fourth millennium BC in Southern Britain. It specifically highlights strong connections between Early Neolithic and Middle Neolithic pottery, in terms of style, but above in terms of manufacturing techniques.

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    Archeologické Rozhledy
    Article . 2017 . Peer-reviewed
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    Authors: Dumons, Bruno;

    En choisissant de mettre à l’honneur des citoyens modèles, notamment grâce à la technique des décorations, la Troisième République a recours à une pédagogie par l’exemple pour installer durablement une culture méritocratique dans la société française. Pour cela, elle invente de nouvelles médailles tout en s’appropriant celles qui avaient été créées sous les régimes précédents comme la plus prestigieuse d’entre elles : la Légion d’Honneur (1802). Si l’historiographie des usages symboliques de la République a été rendue solide avec les travaux de Maurice Agulhon sur la Provence, moins connues sont ces « élites de l’honneur » dont les archives publiques ont conservé les traces. En explorant le célèbre « Var rouge », il nous a été permis de cerner le profil de ces élites méditerranéennes que l’État républicain a souhaité honorer entre 1870 et 1940. Parmi celles-ci, se distingue la catégorie des maires, en particulier ces « bons maires » qui œuvrent pour la « républicanisation » de la société. Ce sont quelques-unes de ces personnalités qui seront présentées dans ce chapitre. In designating model citizens through processes like decorations, the French Third Republic set examples to establish a culture of meritocracy in French society. It invented new medals and appropriated existing ones created by former regimes, including the most prestigious of all: the Légion d’Honneur (1802).Although the historiography of the Republic’s symbolic practices has been augmented by Maurice Agulhon’s works on Provence, this “elite of honour” whose trace remained in public archives is not well known. We explored the “Var rouge” (the predominantly left-wing Var département) to study the profiles of this Mediterranean elite which was honoured by the Republican state between 1870 and 1940. These include the category of mayors, in particular the “bons maires” who contributed to the “republicanisation” of society. This chapter presents a few of these personalities.

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    Cahiers de la Méditerranée
    Article . 2017 . Peer-reviewed
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      Cahiers de la Méditerranée
      Article . 2017 . Peer-reviewed
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    Authors: DUBOIS, Arnaud;

    À partir d’une étude croisée de la littérature savante sur la polychromie antique et industrielle et de données issues d’une enquête de terrain sur une architecture contemporaine qui prend ses distances avec les couleurs fonctionnelles de l’architecture moderniste, cet article montre qu’une approche ethnographique des pratiques coloristes permet de dégager une historiographie largement sous-évaluée des travaux sur l’art coloriste en architecture moderne. En rendant compte des entretiens que j’ai eus avec Patrick Bouchain et Daniel Buren sur leurs positions théoriques sur la coloration des murs et en confrontant leurs réponses aux théoriciens du XIXe siècle en Europe, j’aborde la délicate question de la coloration du Centre Pompidou Mobile. Relève-t-elle ou non d’une démarche « décorative » ? Based on a cross-examination of scholarly literature on antique and industrial polychromy and data from a fieldwork about a contemporary architecture that takes its distances from the functional colors of modernist architecture, this paper examines how an ethnographic approach to colorist practices reveals a widely undervalued historiography on colorist art in modern architecture. In reviewing the interviews I had with Patrick Bouchain and Daniel Buren about their ideas about coloring of walls and in comparing their answers to the nineteenth-century european theorists, I address the delicate question of the coloring of the Center Pompidou Mobile. Is it a « decorative » approach ?

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    Oskar Bordeaux
    Article . 2016
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    Article . 2017
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    Article . 2017
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    Authors: Roussillon-Constanty, Laurence;

    La récente exposition Beauté, morale et volupté dans l’Angleterre d’Oscar Wilde (Musée d’Orsay, 13 septembre 2011-15 janvier 2012) a remarquablement illustré la façon dont un artiste préraphaélite aussi emblématique que Dante Gabriel Rossetti a contribué à faire glisser l’ère victorienne vers l’esthétisme dès le milieu du siècle, accordant par exemple une place de choix à deux de ses tableaux les plus représentatifs, Bocca Baciata (1859) et The Day Dream (1880).Cependant, quel rôle exact l’artiste a-t-il joué dans l’avènement du mouvement Arts and Crafts et par quel biais s’est-il lui-même intéressé à des formes d’art moins reconnues, telle que la céramique ? Comment a-t-il réussi à l’intégrer dans son art ? Alors qu’à ses débuts, la peinture préraphaélite consistait à peindre de la façon la plus transparente possible en privilégiant un rapport direct à la nature, il semble intéressant de montrer en quoi l’intérêt de Rossetti pour les arts décoratifs a également pu inspirer les tendances et les créations du mouvement Arts and Crafts. Un tel examen conduira tout naturellement à se demander si l’on peut conclure que l’art de Rossetti a peu à peu évolué vers l’esthétisme et ce que cette lecture change quant à l’analyse de ses œuvres poétiques et picturales.Dans cet article, il s’agira d’élucider ces questions en évoquant les expériences de Rossetti avec une pluralité de média, en se concentrant plus particulièrement sur les objets en céramique qu’il collectionnait et peignait dans ses tableaux. Par là, il s’agira dans un deuxième temps d’envisager l’œuvre de Rossetti comme une œuvre totale, à portée philosophique autant qu’esthétique et de la mettre en regard avec les idées mises en avant par John Ruskin dans les années 1850. The recent “Cult of Beauty” touring exhibition (Victorian and Albert Museum, 13 September 2011, 15 January 2012) has convincingly shown the role such key pre-Raphaelite artists as Dante Gabriel Rossetti played in the transition from the mid-Victorian age to British aestheticism by dedicating much space to such emblematic paintings as Bocca Baciata (1859) or The Day Dream (1880). However, Rossetti’s exact artistic involvement with the Arts and Crafts design movement, which emerged in Britain around 1860 (but only took its official name after the foundation of the Crafts Exhibition Society in 1887) and his exploration of lesser forms of art in his own artistic career have not yet been widely examined: how could the leader of the Preraphaelite Brotherhood—an artistic endeavour renowned for its insistence on transparent, true-to-nature symbolism—have inspired the decorative, overcharged designs and furniture of the Arts and Crafts movement? Did Rossetti’s art also move towards aestheticism, and if so, does this change the way we should interpret his paintings and his poetry?This paper hopes to address these issues by looking at Rossetti’s experiments with mixed media, with a special focus on Rossetti’s interest in and collecting of ceramics. It also aims to look at Rossetti’s artistic production in a broad and inclusive manner and to balance his ideas against those expressed by John Ruskin in his conferences on art and architecture in the mid-1850s.

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    Miranda: Revue Pluridisciplinaire du Monde Anglophone
    Article . 2012 . Peer-reviewed
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      Article . 2012
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      Miranda: Revue Pluridisciplinaire du Monde Anglophone
      Article . 2012 . Peer-reviewed
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      Article . 2013
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    Authors: Marzais, Amaelle;

    Les peintures du prieuré Saint-Jean-du-Grais d’Azay-sur-Cher, situé en Indre-et-Loire, n’ont jamais fait l’objet d’une étude technique. L’utilisation de la sinopia est rarement observée en France pour les peintures des XIIe et XIIIe s. Les indices laissés sur l’œuvre ainsi que la réalisation de relevés ont permis de proposer une restitution du chantier peint. L’étude montre que le programme iconographique était scrupuleusement conçu avant sa mise en œuvre sur le mur, jusqu’à définir au préalable l’emplacement des raccords d’enduit. Cette peinture illustre les mutations techniques et stylistiques en vigueur dans la deuxième moitié du XIIe jusqu’au début du XIIIe s. The mural paintings in the Saint-Jean-du-Grais priory in Azay-sur-Cher, Indre-et-Loire, have never been the subject of a technical study. The use of sinopia is rarely observed in France for paintings from the 12th and 13th centuries. The clues left on the paintings and the drawing conducted to propose a restitution of the painting process. The study shows that the iconographic programme was scrupulously designed before it was applied to the wall. This painting illustrates the technical and stylistic changes that took place from the second half of the 12th century to the beginning of the 13th.

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    Article . 2023
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      Article . 2023
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    Authors: Carrive, Mathilde;

    International audience; Through a detailed examination of a sample from both towns, this paper presents a joint study of houses in Rome and Ostia in the 2nd c. AD. Taking into account the plan, circulation axes, architectural structures and decoration, the type of analysis performed here has been frequently conducted on houses from the Vesuvian cities but rarely on later periods. By applying it to 2nd c. AD domestic space, we wish to shed a light on the evolution of spatial organisation and its socio-economic implication during this period. We focus on high-status buildings, regardless of the type of housing. In doing so, the aim is twofold: first, to question the contrast between domus and insula; second, to investigate how the 2nd c. élites conceived and inhabited their houses in the heart of the Roman Empire.; Cet article propose une étude conjointe des contextes domestiques de Rome et d’Ostie, au IIe s. ap. J.-C., à travers l’examen détaillé d’une série d’édifices des deux villes. Ce type d’analyse, qui prend en compte à la fois le plan, les circulations, les structures et le décor, a été mené sur les contextes vésuviens de la fin de la République et du début de l’Empire, mais n’a guère été développé pour les périodes postérieures. En l’appliquant ici à l’espace domestique du IIe s. ap. J.-C., nous espérons mettre en lumière pour cette période l’évolution de l’organisation spatiale des maisons et ses enjeux socio-économiques. L’enquête se concentre sur les édifices d’un niveau socio-économique élevé, quelle que soit la typologie de l’habitat. L’objectif est ainsi de réfléchir à la signification de l’opposition domus / insula, tout en affinant notre compréhension des modes d’habiter de l’élite du IIe s. au cœur de l’Empire.

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    Article . 2016
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    https://doi.org/10.4000/mefra....
    Article . 2016 . Peer-reviewed
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    Authors: DE BEAUNE , Sophie A.;

    Étude des lampes paléolithiques dont il n'existait pas de définition précise et dont les caractéristiques techniques, morphologiques et fonctionnelles ainsi que la distribution spatiale et chronologique étaient très peu connues. Study of the Palaeolithic lamps which no true definition existed and whose technical, morphological, and functional characteristics and spatial and chronological distribution were very little known. International audience

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    Current Anthropology
    Article . 1987 . Peer-reviewed
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  • Authors: Porter, Yves;

    Abstract The Shahi ʿIdgah at Rapri (Uttar Pradesh), which dates to 1312, was built by Malik Kafur, the general of the Delhi sultan ʿAla⁠ʾuddin Khalji (1296–1316). The village of Rapri was part of Malik Kafur’s fief and an important station for the army, as it commanded a ford on the Yamuna River. ʿĪdgāhs, sometimes translated as “wall-mosques,” are extra-urban, open prayer spaces for accommodating large congregations during the two main religious festivals (ʿīds). The Rapri ʿīdgāh constitutes a major landmark in the architecture of the Delhi Sultanate, mainly because of its exceptional decoration of turquoise-glazed tiles, the oldest example of its kind still in situ. Although often considered a technique that originated in the Iranian domains, the making of glazed tiles was already known in the Kushan period (first to fourth century CE), and some findings have been excavated from Buddhist contexts in the nearby Mathura region. This study shows the link between the tiles of Rapri and later fourteenth century examples, and with glazed pottery.

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