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7 Research products (1 rule applied)

  • Digital Humanities and Cultural Heritage
  • OpenEdition

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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: Gobbato, Viviana;

    La lumière naturelle dans l’architecture chrétienne relève d’une acception spirituelle qui se fonde sur une longue tradition. Depuis une cinquantaine d’années, l’éclairage électrique bouleverse, quant à lui, la mise en valeur des œuvres d’art religieux qui y sont exposées. En s’appuyant sur l’étude de trois projets récents réalisés dans des lieux sacrés – la chapelle de la reine Théodelinde à Monza (2015), la Scuola Grande de San Rocco à Venise (2018) et la basilique Saint-Pierre de Rome (2018) –, l’article interroge les intentions et les impacts de ces nouvelles stratégies d’éclairage LED sur la présentation et l’expérience de l’architecture et de l’art sacré patrimonialisés. Les résultats font émerger trois procédés : (i) structuration et focalisation, (ii) flexibilité de scènes lumineuses et (iii) haut rendement des couleurs et des matières. Ces stratégies sont fondées sur des fonctions ostensives (monstration de l’espace et de l’œuvre, restauration visuelle), cognitives (construction de sens, narration) et esthétiques (stimulation d’états sensibles et contemplatifs). Les dispositifs d’éclairage qui en résultent semblent s’inscrire dans une muséologie du sensible et s’apparentent à des dispositifs de médiation sensorielle lumineuse. Cela pourrait à l’avenir servir d’inspiration pour la mise en valeur et l’interprétation du patrimoine et des collections patrimoniales des musées. The use of natural light in Christian architecture has a spiritual meaning founded on a long tradition. But over the past fifty years electric lighting has radically altered the way pieces of religious art are now displayed in church architecture. Based on the study of three projects undertaken recently in sacred places—the chapel of Queen Theodelinda at Monza (2015), the Scuola Grande di San Rocco, at Venice (2018) and St Peter’s basilica at Rome (2018)—this article examines the intentions of new lighting strategies using LED lamps and their impact on the presentation and experience of architecture and sacred art in places of heritage. The results show three processes at work: 1) patterning and focusing 2) flexibility of the luminous scenes and 3) quality rendering of colours and materials. These strategies are based on demonstrative functions (showing the space and of the work of art, visual restoration), on cognitive ones (construction of meaning, narration) and aesthetic ones (stimulation of states of sensitivity and contemplation). The lighting techniques which are employed seem to belong to a museology of the senses and are close to systems of sensorial luminous mediation. In the future, this could serve as an inspiration for the promotion and interpretation of the heritage and of heritage collections in museums.

    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
    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/
    OpenEdition
    Article . 2023
    Data sources: OpenEdition
    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/
    In Situ : Revue de Patrimoines
    Article . 2023 . 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
      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/
      OpenEdition
      Article . 2023
      Data sources: OpenEdition
      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/
      In Situ : Revue de Patrimoines
      Article . 2023 . 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: Lagrou, Els; Gonçalves, Marco Antonio;

    À la différence de ce que l’on appelle dans les grandes villes l’art ethnique, composé d’objets produits initialement en vue d’une autre fin que celle d’être des œuvres d’art, l’art populaire est ce que nous suggérons d’appeler un « art de la relation » qui, sous différentes formes, se constitue dans la rencontre entre des mondes distincts, mais intrinsèquement en lien. La transformation de l’artefact en art se produit par une extension progressive du réseau de production des artefacts. Du ma...

    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
    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/
    OpenEdition
    Article . 2014
    Data sources: OpenEdition
    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/
    Perspective
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    Perspective
    Article . 2013 . 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
      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/
      OpenEdition
      Article . 2014
      Data sources: OpenEdition
      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/
      Perspective
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      Perspective
      Article . 2013 . 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: Olalquiaga, Céleste;

    « Lorsque je suis saisi par l’amour de la beauté de la maison de Dieu, la splendeur multicolore des gemmes m’arrache parfois aux soucis extérieurs, et même la diversité des saintes vertus paraît transportée des choses matérielles aux choses immatérielles par une noble méditation, et il me semble que je demeure comme sur quelque plage extérieure à l’orbe terrestre qui ne se trouverait ni dans la lie de la terre ni entièrement dans la pureté du ciel : par le don de Dieu, je suis transporté de l...

    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
    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/
    OpenEdition
    Article . 2013
    Data sources: OpenEdition
    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/
    Perspective
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    Perspective
    Article . 2010 . 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
      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/
      OpenEdition
      Article . 2013
      Data sources: OpenEdition
      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/
      Perspective
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      Perspective
      Article . 2010 . 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: Saint-Martin, Josette;

    L’expérience de réintroduction de la polychromie sur les façades des églises parisiennes du XIXe siècle avec les peintures sur lave émaillée s’est déroulée, à Paris, entre 1827, date à laquelle Ferdinand-Henri-Joseph Mortelèque a mis au point les premiers essais réussis de peinture sur lave émaillée et, 1874, date à laquelle les tympans au-dessus des portes du porche de l’église Saint-Joseph-des-Nations dans le 11e arrondissement, ont été ornés de peintures sur lave émaillée peintes par Paul Balze. L’étude se concentre sur les six églises de Paris ayant reçu un décor peint sur lave émaillée en façade : Saint-Vincent-de-Paul, qui reste à ce jour le décor le plus connu par son importance et son histoire, La Sainte-Trinité, Saint-Augustin, Saint-Ambroise, Saint-Laurent et Saint-Joseph-des-Nations.Des hypothèses sont avancées quant aux possibles raisons aussi bien techniques que concernant l’évolution du goût qui ont plongé cette tentative de réintroduction de la polychromie sur les façades des églises parisiennes du XIXe siècle avec la peinture sur lave dans l’oubli, jusqu’en 1998, année de l’exposition au Musée de la Vie romantique sur les laves émaillées de l’église Saint-Vincent-de-Paul. The reintroduction of polychromy on the façades of nineteenth-century Parisian churches with paintings on enamelled lava took place, between 1827, the date on which Ferdinand-Henri-Joseph Mortelèque implement the first successful trials of painting on enamelled lava and, 1874, the date on which the tympana above the doors of the porch of the church of Saint-Joseph-des-Nations in the eleventharrondissement were decorated by Paul Balze with paintings on enamelled lava. The study focuses on the six Paris churches with decoration painted on enamelled lava on the façade: Saint-Vincent-de-Paul, which to this day remains the best-known decoration in terms of its importance and history, La Sainte-Trinité, Saint-Augustin, Saint-Ambroise, Saint-Laurent and Saint-Joseph-des-Nations.Hypotheses have been put forwards as to the possible reasons, both technical and with regards to changing taste, which plunged the attempt to reintroduce polychromy on the façades of nineteenth-century Parisian churches in obscurity, until 1998, the year of the exhibition at the Musée de la Vie Romantique of the enamelled lavas of the church of Saint-Vincent-de-Paul.

    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/ Les Cahiers de l'Éco...arrow_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/
    Les Cahiers de l'École du Louvre
    Article . 2019 . Peer-reviewed
    Data sources: Crossref
    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/
    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/
    Les Cahiers de l'École du Louvre
    Article
    License: CC BY
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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/ Les Cahiers de l'Éco...arrow_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/
      Les Cahiers de l'École du Louvre
      Article . 2019 . Peer-reviewed
      Data sources: Crossref
      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/
      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/
      Les Cahiers de l'École du Louvre
      Article
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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: Dekoninck, Ralph;

    L’actualité éditoriale atteste un intérêt croissant pour les questions relatives aux rapports entre art et religion. On ne peut qu’être frappé par la quantité d’ouvrages parus ces derniers temps qui portent sur la dimension sacrée des images. Comme un retour du refoulé, les pouvoirs de ces dernières remontent à la surface et retrouvent toute leur épaisseur anthropologique occultée, depuis la Renaissance, par les cadres théoriques, voire idéologiques, propres à la littérature artistique et est...

    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/ Perspectivearrow_drop_down
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    Perspective
    Article
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    OpenEdition
    Other literature type . 2014
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    Perspective
    Article . 2009 . 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/ Perspectivearrow_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/
      Perspective
      Article
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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/
      OpenEdition
      Other literature type . 2014
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      Perspective
      Article . 2009 . 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: Jansen, Willy;

    In 1915 the Biblical Museum near Nijmegen, the Netherlands, opened its doors to the public. Its artistic advisor was Piet Gerrits, an all-round artist and craftsman. This article discusses how the experience-based knowledge gathered by Gerrits through the Latin missions in the Middle East from 1906 to 1911 was reproduced, materialized, transmitted and transformed in the museum and the churches he decorated in the Netherlands. It also shows how his artwork was recently re-appropriated by Jordanians to restore their damaged local cultural heritage and Christian identity. In the analysis of Gerrits’s visualizations of the East in paintings, statues and architecture, three types of experience-based knowledge are distinguished and illustrated: embodied knowledge, material heritage and religious coexistence. Such an approach was not easily assimilated in Europe, as representations of intimate knowledge of everyday life in the Levant clashed with Catholic iconographic norms and the assumptions, dominant representations, and religious aims of other authorities involved. En 1915, le musée Biblique près de Nimègue, aux Pays-Bas, ouvre ses portes au public. Son conseiller artistique est Piet Gerrits, un artiste et artisan accompli. Cet article traite de la façon dont les connaissances fondées sur l’expérience recueillies par Gerrits, au travers des missions latines au Moyen-Orient de 1906 à 1911, ont été reproduites, matérialisées, transmises et transformées dans le musée et les églises qu’il a décorés aux Pays-Bas ; et comment les Jordaniens se sont réapproprié l’œuvre de Gerrits pour restaurer leur patrimoine culturel local endommagé et identité chrétienne. Dans l’analyse des visualisations de l’Orient dans les peintures, statues et architecture de Gerrits, on distingue trois types d’approches basées sur l’expérience et démontrées ici : la connaissance incarnée, le patrimoine matériel et la coexistence religieuse. Cette démarche n’est pas facilement assimilée en Europe, où les représentations de la connaissance intime de la vie quotidienne au Levant se heurtent aux normes iconographiques catholiques et aux assomptions, représentations dominantes et objectifs religieux des autres autorités impliquées.

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    Book . 2023
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      Book . 2023
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    Authors: Thébault, Marine; Dutheillet de Lamothe, Sophie; Schmitt, Daniel;

    Présenter dans une collection des œuvres médiévales pouvant avoir une portée religieuse interroge les conditions de leur mise en exposition. Le Palais des Beaux-arts de Lille explore diverses formes de discours pour donner sens à des objets dont l’interprétation initiale peut être mal connue, voire dépréciée des visiteurs contemporains. Une analyse fine de leur expérience de visite permet de reconstruire leur dynamique corporelle, cognitive et émotionnelle durant le parcours. L’étude met en évidence les enjeux médiatiques du cartel et le regard avec lequel le musée peut faciliter la compréhension des œuvres, en activant ou non le sens religieux des objets présentés. Presenting medieval works of art in a collection that may have religious significance raises questions about the conditions under which they are displayed. The Palais des Beaux-arts de Lille explores various forms of discourse to give meaning to objects whose initial interpretation may be unfamiliar, or even depreciated by contemporary visitors. A detailed analysis of their visitor experience allows us to reconstruct their bodily, cognitive and emotional dynamics during the visit. The study highlights the mediating stakes of the cartel and the way in which the museum can facilitate an understanding of the works by activating or not the religious meaning of the presented objects.

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    OpenEdition
    Article . 2023
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    ICOFOM Study Series
    Article . 2023 . Peer-reviewed
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      Article . 2023
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      ICOFOM Study Series
      Article . 2023 . 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: Gobbato, Viviana;

    La lumière naturelle dans l’architecture chrétienne relève d’une acception spirituelle qui se fonde sur une longue tradition. Depuis une cinquantaine d’années, l’éclairage électrique bouleverse, quant à lui, la mise en valeur des œuvres d’art religieux qui y sont exposées. En s’appuyant sur l’étude de trois projets récents réalisés dans des lieux sacrés – la chapelle de la reine Théodelinde à Monza (2015), la Scuola Grande de San Rocco à Venise (2018) et la basilique Saint-Pierre de Rome (2018) –, l’article interroge les intentions et les impacts de ces nouvelles stratégies d’éclairage LED sur la présentation et l’expérience de l’architecture et de l’art sacré patrimonialisés. Les résultats font émerger trois procédés : (i) structuration et focalisation, (ii) flexibilité de scènes lumineuses et (iii) haut rendement des couleurs et des matières. Ces stratégies sont fondées sur des fonctions ostensives (monstration de l’espace et de l’œuvre, restauration visuelle), cognitives (construction de sens, narration) et esthétiques (stimulation d’états sensibles et contemplatifs). Les dispositifs d’éclairage qui en résultent semblent s’inscrire dans une muséologie du sensible et s’apparentent à des dispositifs de médiation sensorielle lumineuse. Cela pourrait à l’avenir servir d’inspiration pour la mise en valeur et l’interprétation du patrimoine et des collections patrimoniales des musées. The use of natural light in Christian architecture has a spiritual meaning founded on a long tradition. But over the past fifty years electric lighting has radically altered the way pieces of religious art are now displayed in church architecture. Based on the study of three projects undertaken recently in sacred places—the chapel of Queen Theodelinda at Monza (2015), the Scuola Grande di San Rocco, at Venice (2018) and St Peter’s basilica at Rome (2018)—this article examines the intentions of new lighting strategies using LED lamps and their impact on the presentation and experience of architecture and sacred art in places of heritage. The results show three processes at work: 1) patterning and focusing 2) flexibility of the luminous scenes and 3) quality rendering of colours and materials. These strategies are based on demonstrative functions (showing the space and of the work of art, visual restoration), on cognitive ones (construction of meaning, narration) and aesthetic ones (stimulation of states of sensitivity and contemplation). The lighting techniques which are employed seem to belong to a museology of the senses and are close to systems of sensorial luminous mediation. In the future, this could serve as an inspiration for the promotion and interpretation of the heritage and of heritage collections in museums.

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    OpenEdition
    Article . 2023
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    In Situ : Revue de Patrimoines
    Article . 2023 . 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
      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/
      OpenEdition
      Article . 2023
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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/
      In Situ : Revue de Patrimoines
      Article . 2023 . 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: Lagrou, Els; Gonçalves, Marco Antonio;

    À la différence de ce que l’on appelle dans les grandes villes l’art ethnique, composé d’objets produits initialement en vue d’une autre fin que celle d’être des œuvres d’art, l’art populaire est ce que nous suggérons d’appeler un « art de la relation » qui, sous différentes formes, se constitue dans la rencontre entre des mondes distincts, mais intrinsèquement en lien. La transformation de l’artefact en art se produit par une extension progressive du réseau de production des artefacts. Du ma...

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    OpenEdition
    Article . 2014
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    Perspective
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    Perspective
    Article . 2013 . Peer-reviewed
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      OpenEdition
      Article . 2014
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      Perspective
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      Perspective
      Article . 2013 . 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: Olalquiaga, Céleste;

    « Lorsque je suis saisi par l’amour de la beauté de la maison de Dieu, la splendeur multicolore des gemmes m’arrache parfois aux soucis extérieurs, et même la diversité des saintes vertus paraît transportée des choses matérielles aux choses immatérielles par une noble méditation, et il me semble que je demeure comme sur quelque plage extérieure à l’orbe terrestre qui ne se trouverait ni dans la lie de la terre ni entièrement dans la pureté du ciel : par le don de Dieu, je suis transporté de l...

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    OpenEdition
    Article . 2013
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    Perspective
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    Perspective
    Article . 2010 . 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/
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      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/
      Perspective
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      Article . 2010 . 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: Saint-Martin, Josette;

    L’expérience de réintroduction de la polychromie sur les façades des églises parisiennes du XIXe siècle avec les peintures sur lave émaillée s’est déroulée, à Paris, entre 1827, date à laquelle Ferdinand-Henri-Joseph Mortelèque a mis au point les premiers essais réussis de peinture sur lave émaillée et, 1874, date à laquelle les tympans au-dessus des portes du porche de l’église Saint-Joseph-des-Nations dans le 11e arrondissement, ont été ornés de peintures sur lave émaillée peintes par Paul Balze. L’étude se concentre sur les six églises de Paris ayant reçu un décor peint sur lave émaillée en façade : Saint-Vincent-de-Paul, qui reste à ce jour le décor le plus connu par son importance et son histoire, La Sainte-Trinité, Saint-Augustin, Saint-Ambroise, Saint-Laurent et Saint-Joseph-des-Nations.Des hypothèses sont avancées quant aux possibles raisons aussi bien techniques que concernant l’évolution du goût qui ont plongé cette tentative de réintroduction de la polychromie sur les façades des églises parisiennes du XIXe siècle avec la peinture sur lave dans l’oubli, jusqu’en 1998, année de l’exposition au Musée de la Vie romantique sur les laves émaillées de l’église Saint-Vincent-de-Paul. The reintroduction of polychromy on the façades of nineteenth-century Parisian churches with paintings on enamelled lava took place, between 1827, the date on which Ferdinand-Henri-Joseph Mortelèque implement the first successful trials of painting on enamelled lava and, 1874, the date on which the tympana above the doors of the porch of the church of Saint-Joseph-des-Nations in the eleventharrondissement were decorated by Paul Balze with paintings on enamelled lava. The study focuses on the six Paris churches with decoration painted on enamelled lava on the façade: Saint-Vincent-de-Paul, which to this day remains the best-known decoration in terms of its importance and history, La Sainte-Trinité, Saint-Augustin, Saint-Ambroise, Saint-Laurent and Saint-Joseph-des-Nations.Hypotheses have been put forwards as to the possible reasons, both technical and with regards to changing taste, which plunged the attempt to reintroduce polychromy on the façades of nineteenth-century Parisian churches in obscurity, until 1998, the year of the exhibition at the Musée de la Vie Romantique of the enamelled lavas of the church of Saint-Vincent-de-Paul.

    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/ Les Cahiers de l'Éco...arrow_drop_down
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    Les Cahiers de l'École du Louvre
    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/
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    Les Cahiers de l'École du Louvre
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      Les Cahiers de l'École du Louvre
      Article . 2019 . Peer-reviewed
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      Les Cahiers de l'École du Louvre
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      License: CC BY
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    Authors: Dekoninck, Ralph;

    L’actualité éditoriale atteste un intérêt croissant pour les questions relatives aux rapports entre art et religion. On ne peut qu’être frappé par la quantité d’ouvrages parus ces derniers temps qui portent sur la dimension sacrée des images. Comme un retour du refoulé, les pouvoirs de ces dernières remontent à la surface et retrouvent toute leur épaisseur anthropologique occultée, depuis la Renaissance, par les cadres théoriques, voire idéologiques, propres à la littérature artistique et est...

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    Perspective
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    OpenEdition
    Other literature type . 2014
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    Perspective
    Article . 2009 . Peer-reviewed
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      OpenEdition
      Other literature type . 2014
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      Perspective
      Article . 2009 . Peer-reviewed
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    Authors: Jansen, Willy;

    In 1915 the Biblical Museum near Nijmegen, the Netherlands, opened its doors to the public. Its artistic advisor was Piet Gerrits, an all-round artist and craftsman. This article discusses how the experience-based knowledge gathered by Gerrits through the Latin missions in the Middle East from 1906 to 1911 was reproduced, materialized, transmitted and transformed in the museum and the churches he decorated in the Netherlands. It also shows how his artwork was recently re-appropriated by Jordanians to restore their damaged local cultural heritage and Christian identity. In the analysis of Gerrits’s visualizations of the East in paintings, statues and architecture, three types of experience-based knowledge are distinguished and illustrated: embodied knowledge, material heritage and religious coexistence. Such an approach was not easily assimilated in Europe, as representations of intimate knowledge of everyday life in the Levant clashed with Catholic iconographic norms and the assumptions, dominant representations, and religious aims of other authorities involved. En 1915, le musée Biblique près de Nimègue, aux Pays-Bas, ouvre ses portes au public. Son conseiller artistique est Piet Gerrits, un artiste et artisan accompli. Cet article traite de la façon dont les connaissances fondées sur l’expérience recueillies par Gerrits, au travers des missions latines au Moyen-Orient de 1906 à 1911, ont été reproduites, matérialisées, transmises et transformées dans le musée et les églises qu’il a décorés aux Pays-Bas ; et comment les Jordaniens se sont réapproprié l’œuvre de Gerrits pour restaurer leur patrimoine culturel local endommagé et identité chrétienne. Dans l’analyse des visualisations de l’Orient dans les peintures, statues et architecture de Gerrits, on distingue trois types d’approches basées sur l’expérience et démontrées ici : la connaissance incarnée, le patrimoine matériel et la coexistence religieuse. Cette démarche n’est pas facilement assimilée en Europe, où les représentations de la connaissance intime de la vie quotidienne au Levant se heurtent aux normes iconographiques catholiques et aux assomptions, représentations dominantes et objectifs religieux des autres autorités impliquées.

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    Book . 2023
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      OpenEdition
      Book . 2023
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    Authors: Thébault, Marine; Dutheillet de Lamothe, Sophie; Schmitt, Daniel;

    Présenter dans une collection des œuvres médiévales pouvant avoir une portée religieuse interroge les conditions de leur mise en exposition. Le Palais des Beaux-arts de Lille explore diverses formes de discours pour donner sens à des objets dont l’interprétation initiale peut être mal connue, voire dépréciée des visiteurs contemporains. Une analyse fine de leur expérience de visite permet de reconstruire leur dynamique corporelle, cognitive et émotionnelle durant le parcours. L’étude met en évidence les enjeux médiatiques du cartel et le regard avec lequel le musée peut faciliter la compréhension des œuvres, en activant ou non le sens religieux des objets présentés. Presenting medieval works of art in a collection that may have religious significance raises questions about the conditions under which they are displayed. The Palais des Beaux-arts de Lille explores various forms of discourse to give meaning to objects whose initial interpretation may be unfamiliar, or even depreciated by contemporary visitors. A detailed analysis of their visitor experience allows us to reconstruct their bodily, cognitive and emotional dynamics during the visit. The study highlights the mediating stakes of the cartel and the way in which the museum can facilitate an understanding of the works by activating or not the religious meaning of the presented objects.

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    Article . 2023
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    ICOFOM Study Series
    Article . 2023 . Peer-reviewed
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      Article . 2023
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      Article . 2023 . Peer-reviewed
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