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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.

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.

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.

1370–1410 yılları arasında Dazya’da inşa edilen Lulu bin Abdullah ve Tokat’ta inşa edilen Horozoğlu Ahmed Bey dergahlarının bazı bölümleri, göze çarpan benzerliklere sahip zarif ustuka süslemelerle bezelidir. Bu derlemede, Orta Çağ Anadolusu’nda, günümüzde bile çalışmalarda hak ettiği yeri bulamayan ustuka üretiminin yanı sıra Eretna Beyliği topraklarında, Osmanlı hakimiyetiyle birlikte girilen geçiş dönemi dergah mimarisinde tek tipleşme ele alınmıştır. Orta ve Doğu Karadeniz bölgelerinden bu iki örnek olay incelemesine odaklanan makale, ustuka imalatının köklerinin yerel geleneklere dayandığını savunmaktadır. Buna ek olarak, söz konusu süslemelere Osmanlı’nın ilk yıllarında inşa edilen dergahlarda da rastlanması, bölgesel ölçekte sanatsal etkileşimler ve bilgi alışverişi konularını açıklığa kavuşturarak Orta Anadolu’nun Orta Çağı’nı Osmanlı İmparatorluğu’nun doğuş döneminden keskin bir çizgiyle ayıran tarihi sınırı ortadan kaldırmaktadır. Built between the 1370s and the 1410s, the dervish lodges of Lulu ibn ʿAbdallah in Tazya and of Horozoğlu Ahmed Bey in Tokat are partially ornamented with refined stucco decorations that have remarkable similarities. This corpus illustrates the production of stucco in medieval Anatolia, a material still understudied, as well as the progressive standardization of the architecture of dervish lodges during a transitional period that witnessed the emergence of the Ottomans in the former Eretnid realm. Focusing on these two case studies from the Inner Pontos region, this paper argues that such production is rooted at the local scale. Moreover, the study of such ornamentation also present in early Ottoman dervish lodges sheds new light on the artistic exchanges and circulations at a regional scale, deconstructing the historiographic border isolating central Anatolia from the emerging Ottoman Empire.

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 ?

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.