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Le comte Moïse de Camondo (1860-1935) destinait son hôtel et sa collection d’art décoratif français du XVIIIe siècle à son fils Nissim. Après la disparition prématurée de ce dernier en 1917, il les légua à l’État français en 1924 avec trois clauses restrictives. Les modifications de l’aménagement du musée ouvert en 1936 font l’objet de la présente étude. The Count Moïse de Camondo (1860-1935) planned to bequeath his house and his collection of eighteenth-century French decorative art to his son, Nissim. But in 1924, after Nissim’s premature death in 1917, the house and its collections were left to the French state, with three restrictive clauses. The changes in the interior decoration of the museum, carried out in 1936, are the subject of the present article.

Rémi Labrusse. Quel est votre itinéraire de chercheur ? Comment vous-a-t-il conduit vers le textile ? Jean-Paul Leclercq. De 1994 à 2006 j’ai été conservateur des collections anciennes de mode et de textile aux Arts décoratifs, à Paris, et j’en ai repris l’enrichissement. Mettant en œuvre la concertation entre musées que je prônais, j’ai constitué le dossier qui a permis au musée des Tissus de Lyon d’acquérir les cent quatre-vingt-dix Grands livres de fabrique de la maison lyonnaise Bianchini...

Una classe dell’orientalizzante etrusco : le olle a scacchiera. L’articolo prende in esame una classe ceramica peculiare di Vulci e del suo territorio che si sviluppa nel corso dell’orientalizzante. Altre evidenze, cui va attribuita una produzione autonoma, provengono con poche attestazioni da Tarquinia. Si tratta di olle con partito a scacchiera variamente risolto : tramite cordoni plastici applicati o tramite riquadri dipinti direttamente sul corpo ceramico, poi alternativamente arricchiti dall’uso di vernice bianca. In sostanziale contemporaneità con il motivo dei riquadri si registra in misura ridotta una variante decorativa rappresentata da sequenze di triangoli. La taglia delle olle, sia di medie che di grandi dimensioni, suggerisce un utilizzo di esso sia in ambito domestico, anche simposiale, sia di stoccaggio e conservazione delle derrate alimentari. Le attestazioni più antiche e anche più numerose si registrano nel corso dell’orizzonte antico dell’orientalizzante prima a Vulci, che produce prevalentemente la serie a corpo costolato, e solo a cominciare dagli inizi del VII secolo a.C. nell’entroterra, a Poggio Buco, centro che si specializza nella serie a corpo liscio. Sembra esclusiva di quest’ultimo sito la variante decorativa dei triangoli nelle serie a corpo liscio. Senza dubbio, le isolate testimonianze da Cerveteri e Falerii si inseriscono in circuiti di scambio fra questi centri e la città costiera ; nello stesso senso vanno lette le esigue evidenze da Saturnia, Pitigliano e Sovana, limitate alla serie a cordoni plastici e relative alla fase più recente dell’orientalizzante. Tarquinia, invece, elabora una produzione autonoma circoscritta a pochi esemplari nell’orientalizzante antico. The paper is dedicated to the analysis of a peculiar impasto ware developped in Vulci and in its territory during the Orientalizing period. Some more evidences, concerning an independent production, sporadically come from Tarquinia. These are ollae with chequer pattern carried by plastic ridges applied on them or by panels directly painted onto the surface and then alternately filled with white creamy paint. At the same time, it can also be recorded a decorative variation represented by rows of triangles. The size of the ollae suggests they were used in domestic contexts, even in symposiums, as well as for the storage and conservation of food.The oldest and most frequent samples are registered during the Early Orientalizing, first, in Vulci, where we find the production of the cordoned series, and then, not before the beginning of the seventh century B.C., in Poggio Buco, where we can find a specialized production of ollae with smooth body, in particular with the decorative variation represented by the triangles. Without doubt, the isolated evidences from Caere and Falerii are to be included in the trading between these towns and the coast, as well as for the evidences from Saturnia, Pitigliano and Sovana dealing with the cordoned series of the latest Orientalizing. Tarquinia made a local production at the beginning of the seventh century B.C.

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

International audience; The Augustan Theatre of the Roman city of Arausio (Orange, France) is the only one in the Roman West to have preserved its entire stage building; however, it is now completely stripped of the rich marble decoration that originally adorned it. While thousands of fragments of this decoration have survived, it is paradoxically difficult to propose a global restitution, due to the conservation conditions, the presence of ancient restorations and the extreme fragmentation of the remains. As a step of the new researches on the theatre undertaken in 2000, the use of digital imaging to study the figurative set has made it possible to overcome some of these obstacles: the digitisation and gathering of fragments of certain friezes in the same virtual space thanks to the development of a dedicated software tool has considerably facilitated observations, comparisons and restitution proposals. In a second step, the integration of these friezes into the orders of the scaenae fronscould be considered. Whether based on technical criteria (tool traces, fixing mortices, etc.), iconographic or stylistic criteria (determination of characteristic rhythms, volumetric comparisons, restoration of figurative sequences, etc.), the application of these technologies has not only provided an unparalleled visualization tool to date, but also allowed the multiplication of restitution hypotheses and their validation.; Le théâtre augustéen d’Orange est le seul dans l’Occident romain à avoir conservé l’intégralité de son bâtiment de scène ; il est cependant aujourd’hui entièrement dépouillé du riche décor de marbre qui le parait à l’origine. Alors que des milliers de fragments de cette parure nous sont parvenus, il est paradoxalement difficile d’en proposer une restitution complète, du fait des conditions de conservation, de la présence de restaurations anciennes et de l’état de fragmentation extrême des vestiges. Dans la continuité de la nouvelle étude du théâtre entreprise en 2000, le recours à l’imagerie numérique pour l’étude du décor figuré a permis de dépasser une partie de ces obstacles : la numérisation et la réunion des fragments de certaines frises dans un même espace virtuel grâce à la mise au point d’un outil logiciel dédié a facilité considérablement observations, comparaisons, rapprochements et propositions de restitution. Dans un second temps, l’intégration de ces frises aux ordres du mur de scène a pu être envisagée. Qu’elle se soit fondée sur des critères techniques (relevé des traces d’outil, des mortaises de fixation, etc.), iconographiques ou stylistiques (détermination de rythmes et d’alternances caractéristiques, comparaisons volumétriques, restaurations de séquences figuratives, etc.), l’application de ces technologies aura non seulement fourni un outil de visualisation sans équivalent jusqu’à présent, mais aussi permis la multiplication des hypothèses de restitution et leur validation sans avoir à manipuler ou à déplacer les fragments.

Cet article s’attache à donner un aperçu de la qualité et à définir l'origine du matériel lapidaire retrouvé à Termez, depuis les fouilles des années 1930 jusqu'aux dernières campagnes de la mission archéologique franco-ouzbèke de Bactriane. Il est question des simples éléments décoratifs de l'architecture des édifices d'époque kouchane. Nous cherchons à montrer qu'en dépit de pertes dues à des destructions très importantes intervenues entre le IIIème et le IVème siècles, le matériel est assez homogène, de bonne facture et peut donner des informations intéressantes sur la sculpture et les pratiques architecturales en Bactriane à cette époque. This article aims to give a glimpse of the quality and the origins of the lapidary material found in Termez, since the excavations of the 1930’s until the last campaigns of the Franco-Uzbek archaeological mission of Bactria. It deals with simple decorative elements of the architecture from the Kushan period. We show that despite huge losses due to destruction during the 3rd and 4th centuries, the material is fairly homogeneous, well sculpted and can provide valuable information about sculptural and architectural practices in Bactria during this period.

« Grâce à l’art, est-il écrit dans À la recherche du temps perdu, au lieu de voir un seul monde, le nôtre, nous le voyons se multiplier, et autant qu’il y a d’artistes originaux, autant nous avons de mondes à notre disposition, plus différents les uns des autres que ceux qui roulent dans l’infini et, bien des siècles après qu’est éteint le foyer dont ils émanaient, qu’il s’appelât Rembrandt ou Ver Meer, nous envoient encore leur rayon spécial ». Les rapports entre l’art et la vie constituent ...

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.

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.